Old masters, 19th and 20th century paintings

auction 183. Tuesday May 22, 2012 Wednesday May 23, 2012

Old masters, 19th and 20th century paintings Dates of Sale:

Tuesday May 22, 2012 at 5 pm lot 1–223 Wednesday May 23, 2012 at 5 pm lot 301–522 On View:

12 – 20 May Open daily 10 am – 6 pm

8 Balaton utca, Budapest H-1055 Telephone: (+36)1 475 6000, (+36)1 475 2090 • Fax: (+36)1 475 6005 The catalogue is also available on our website www.nagyhazi.hu For further information please contact us at [email protected] Member of Hungarian Art Dealers Assocation

The paintings were assessed by:

Vera Mayer painting appraiser Eszter Mecseki art historian József Nagy painting- and art object appraiser ✝ Csaba Nagyházi painting- and art object appraiser Mónika Pavlicsné Haász art object appraiser The auctioneer:

Marietta Soóky Lot Nr. 54 can be viewed on the front page and lot Nr. 470 on the back. Published by Nagyházi Galéria and Aukciósház, Budapest, 2012 Printed

Árverési feltételek 1. A Nagyházi Galéria mint árverési ház az árverést – az árvereztetők megbízásából mint kereskedelmi képviselő – szervezi, rendezi és vezeti. Az árvereztetők által átadott tételek a katalógus sorrendjében kerülnek kikiáltásra úgy, hogy az árverésvezető a sorra kerülő tárgy katalógusszámát valamint kikiáltási árát élő szóval kihirdeti, amire a venni szándékozók tárcsa feltartásával teszik meg ajánlatukat. Árverezni kizárólag az aukció megkezdése előtt, ügyfélkártya, illetve név és lakcím szerint regisztrálva, licitáló tárcsával lehet. A vevők a tárcsa átvételével, mint ráutaló magatartással kifejezik, hogy az árverési feltételeket magukra nézve kötelezően fogadják el. 2. A tárgy tulajdonjogát az árvereztetőtől leütéssel az az árverési vevő szerzi meg, aki a legnagyobb árajánlatot teszi, kivéve, ha a katalógusban jelzett tárgy esetében az 2001. évi LXIV. tv.-ben biztosított elővásárlási jogát a hungarian állam érvényesíti. 3. Az Aukciósház mint kereskedelmi képviselő az árvereztető – megbízó – nevében és képviseletében, annak teljeskörű meghatalmazása alapján jár el, e meghatalmazás alapján jogosult az aukció során legmagasabb vételárat kínáló vevővel az adás-vételi szerződés megkötésére és a vételár átvételére. Az Aukciósház fentartja a jogot, hogy a katalógusban szereplő egyes tételek árverezését mellőzze. Licitlépcsők Emelkedés 20 000 HUF alatt 1 000 HUF 20 000 HUF és 50 000 HUF között 2 000 HUF 50 000 HUF és 100 000 HUF között 5 000 HUF 100 000 HUF és 200 000 HUF között 10 000 HUF 200 000 HUF és 500 000 HUF között 20 000 HUF 500 000 HUF és 1 000 000 HUF között 50 000 HUF 1 000 000 HUF és 2 000 000 HUF között 100 000 HUF stb. 4. A vevő a vételárat készpénzben vagy annak 20%-át foglalóként az árverésen azonnal tartozik kifizetni. Amennyiben a teljes vételár egy összegben az árverésen kifizetésre kerül, úgy a tárgy a helyszínen átvehető. A vételár kiegyenlítése történhet hitelkártyával (Visa, Master, Amex) is, ez esetben 3 % hitelkártya jutalékot számolunk fel. A kereskedelmi képviselő biztosítja annak lehetőségét, hogy az árverési vevő a foglalót meghaladó vételárrészt az árverés időpontjától számított 14 napon belül egyenlítse ki. A vételárba a foglaló összege - határidőben történő teljesítés esetén - beleszámít. Amen�nyiben az árverési vevő a megadott határidőig az árvereztetőnél a teljes vételárat nem rendezi, úgy ez esetben a kereskedelmi képviselő (az Árverési ház) az árverési vevő ajánlatát érvénytelennek tekinti. Ebben az esetben a vevő által adott foglaló részére nem jár vissza. 5. A vevő a kereskedelmi képviselő részére közvetítői díjat tartozik fizetni 13 000 000 HUF (€ 50 000) leütési árig 21%-ot, ezt meghaladó leütési ár esetén a 13 000 000 HUF feletti összeg 18%-át. 6. A vevő a vételár kiegyenlítését követően köteles gondoskodni a megvett tárgy elszállításáról saját költségére és felelősségére. Ennek elmulasztása esetén a kereskedelmi képviselő nem felel a tárgy sérüléséért, és az árverést követő 15. naptól a vételárra számított havi 5% tárolási díjat számol fel. Amennyiben az árverési vevő az árverést követően felszólítás ellenére a megbízás tárgyát nem szállítja el, úgy ez esetben 6 hónap elteltével a kereskedelmi képviselő a tárgyat szabadon értékesíti – a költségei levonását követően – a fennmaradt összeget pedig a vevő javára letétként őrzi. 7. Tilos mindenféle összebeszélés vagy vállalkozás, amely arra irányul, hogy harmadik személyeket szerfelett magas vételár kínálatára rávegyen és így megkárosítson. 8. Az árverés előtti kiállításon és az árverésen minden tárgy megtekinthető. 9. A katalógusban szereplő leírások és illusztrációk kizárólag azonosításul szolgálnak, így a vevőknek saját maguknak kell – az árverést megelőzően – meggyőződniük az árverési tételek állapotáról és arról,

hogy azok megfelelnek-e a katalógus leírásának. A leütés after kifogásnak, vagy felszólamlásnak nincs helye kivéve, ha a tárgy hamis – bár a katalógusban eredetinek van feltüntetve. Ebben az esetben az árverési vevő írásban, a tárgy származásával, vagy eredetiségével kapcsolatban felmerülő első kételytől számított 3 hónapon belül, de legkésőbb az árverés napjától számított 5 éven belül felszólamlással élhet. Az Aukciósház vállalja, hogy az adás-vételi szerződés megkötésétől számított 5 éven belül a felszólamlótól az értékesített tárgyat a leütési ár, valamint az árverési közvetítői díj összegének ellenében visszaveszi, amennyiben arról független igazságügyi szakértő megállapítja, hogy nem eredeti. 10. A tárgyak szavatosság nélkül, minden hibájukkal és imperfectságukkal együtt abban az állapotban kerülnek eladásra, melyben az árverés idején vannak. 11. Az eladásra kerülő tárgyak kikiáltási ár alatt nem vásárolhatók meg. Az árverező által tett ajánlatért, a lefizetett árverési árért a kereskedelmi képviselő felelősséget nem vállal, és nem kötelezhető, hogy nevezett tételt ugyanezen az áron egy későbbi időpontban újra árverésre ajánlja vagy forgalomba hozza. 12. VÉTELI MEGBÍZÁS: Amennyiben a vevő személyesen nem kíván részt venni az árverésen, úgy az általa adott vételi megbízás alapján, helyette a kereskedelmi megbízott – a megbízásnak megfelelően – hivatalból árverezhet, illetve telefonon személyesen licitálhat. Telefonos vételi megbízást 300 euró, ill. 80 000 HUF alatt nem fogadunk el. Telefonos vételi megbízás esetén – amennyiben a telefonos kapcsolat nem jön létre (a hívott fél bármilyen oknál fogva nem elérhető) – a kikiáltási áron való vételi szándéknak tekintendő. Esetleg felmerülő kommunikációs problémákért felelősséget nem vállalunk. Vételi megbízásban meghatározott összeg 20%-a előlegképpen lefizetendő, amiről a megbízó fél átvételi elismervényt kap. Ha ugyanarra a tárgyra harmadik személy magasabb összegre ad megbízást vagy az árverés résztvevői magasabb ajánlatot tesznek, úgy a megbízó az árverés after az előleget – a vételi megbízás elismervényének ellenében – minden levonás nélkül visszakapja. Amennyiben a vételi megbízás sikeres, az előleg foglalónak tekintendő. 13. Az árverési katalógusban „” signature szereplő tárgyakat Hungarianországról kivinni nem lehet. A „” jelzésű tárgyak mindenkori tulajdonosait a múzeumok nyilvántartásba veszik, a tulajdonosváltozás kötelezően bejelentendő. 14. KIVITELI ENGEDÉLY: A kulturális javak külföldre viteléről a 2001. évi LXIV. törvény rendelkezik. A kulturális javak véglegesen csak a Kulturális Örökségvédelmi Hivatal engedélyével vihetők ki az országból. Az engedély nélkül, valamint a végleges kiviteli engedéllyel kivihető kulturális javak külföldre vitelével (engedélyeztetés, csomagolás, vámkezelés, szállítás) a Nagyházi Galériával együttműködő szakértő cég foglalkozik. FOR-ANT-EX, H-1071 Budapest, Városligeti fasor 47-49. A részletekkel kapcsolatos előzetes információ és árajánlat a +36-1-321-3742-es telefonszámon vagy az [email protected] e-mail címen kérhető. 15. Az árverés végén az el nem kelt tárgyak újraárverezését lehet kérni a kereskedelmi képviselőtől. A katalógusban jelzett euróárak kizárólag információs céllal szerepelnek. Az elszámolás alapja minden esetben a vételár kiegyenlítése napján érvényes valuta árfolyam. 16. SZÁLLÍTÁS: A tárgyak elszállítása vevő költségére és felelősségére történik. Nagyházi Galéria és Aukciósház, mint kereskedelmi képviselő Budapest, 2012. május

3

Conditions of sale 1. The auction is organized, handled and conducted by the auctioneer, Nagyházi Galéria Árverési Ház, acting as an agent on behalf of the vendor. The lots called up are in succession as in the catalogue. The auctioneer announces the catalogue number of the lot in question and buyers indicate their wish to bid by raising their paddle. Buyers may participate in the bidding only with a numbered bidding paddle. To receive a paddle buyers shall be registered with name and address, or client card preceding the auction. Being registered buyers acknowledge to accept the conditions of sale. 2. On the fall of the auctioneer’s hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer. However, in case of lots marked as "protected items" () in the catalogue, Hungarian museums reserve the right to buy the item at the hammer price. (Law No. LXIV. of 2001.) 3. The buyer has to pay 20 % of the hammer price, as deposit, in cash immediately after the sale. In case the whole price is paid, the buyer can have the object after the sale. A possibility to pay the amount over the deposit within the space of 14 days is rendered by the agent. The deposit is part of the hammer price on condition that it is paid within 14 days. In case of non-payment within two weeks of the date of the sale, the agent Nagyházi Galéria Árverési Ház regards the buyer's bid as null and void in which case the buyer has no right to reclaim the deposit. Nagyházi Gallery reserves the right to reject the auctioning of certain lots listed in the catalogue. Bidding steps under 20 000 HUF 1 000 HUF between 20 000 – 50 000 HUF 2 000 HUF between 50 000 – 100 000 HUF 5 000 HUF between 100 000 – 200 000 HUF 10 000 HUF between 200 000 – 500 000 HUF 20 000 HUF between 500 000 – 1 000 000 HUF 50 000 HUF between 1000 000 – 2 000 000 HUF 100 000 HUF 4. A buyer’s premium shall be added to the hammer price and paid by buyers: 21% (including 5% artists’ royalty as enacted by Law No. LXXVI 1999.) of the hammer price up to and including 13 000 000 HUF (€ 50 000) and 18% of the amount exceeding 13 000 000 HUF (Law No. XXIX. 1996). 5. Immediately after sale the buyer assumes full risk and responsibility thereof for the lot including any loss or damage and for shipment. The auctioneer is not responsible for any damage occuring after the sale. If the buyer fails to ship the purchased item the auctioneer has the right to charge 5 % of the price as storage and handling price per month from the fifteenth day of the date of the auction. In case the buyer fails to removed the goods - in spite of being called upon to do so - after 6 months the agent has the right to sell the item and will preserve the amount for the buyer as deposit minus expenses. 6. No seller may bid nor may any third party bid on seller's behalf in order to reach an unreasonably high price thus inflicting a loss on any other party. 7. All lots are available for inspection prior to and during the sale. 8. Descriptions and illustrations in the catalogue are for identification only. Buyers should satisfy themselves prior to the sale as to the condition of each lot and should rely on their own judgement as to whether the lot accords with its description. The Auction House will not accept any complaints after the fall of the auctioneer’s hammer ont he lot unless the item proves not to be genuine despite being marked so in the catalogue. In such case the buyer may contest the sale in writing within three months of his/her doubt to the provenance or the authenticity of the item, but no later than five years from the date of the auction. The Auction House undertakes to repurchase the item from the buyer for a price including the hammer 4

price and the agency fee if an independent expert establishes that the item is not genuine. 9. All goods are sold with all faults and imperfections they have at the time of the sale without any warranty. 10. No object will be sold for an amount less than the estimate price in the catalogue. The auctioneer bears no responsibility for validity of the bids. The Auction House shall not be obliged to re-offer the lot for the hammer price at a future auction. 11. In our discretion, The Auction House will execute order bids or accept telephone bids as a convenience to clients who are not present at auctions in accordance with a purchase assignment. Telephone bids will not be accepted for items with starting prices below € 300 (80 000 HUF). If the connection cannot be established in case of telephone bids (i.e. the bidding person cannot be reached for any reason), it is consedered a bid for purchase placed on the starting price. We assume no liability for any difficutlies in telecommunication that may arise. Fifty per cent of the amount agreed upon in the order bid is to be paid prior to sale on which the buyer is to be given acknowledgement of receipt. In case a higher bid is l000 HUF for the same lot by a third party or is by buyers in the saleroom, the the advance will be paid back to the absentee bidder. If the order to buy is succesfully executed, 20% of the purchase price is to be considered as deposit from the advance. 12. No objects marked "" (protected) in the catalogue may be taken abroad. Owners of protected goods will be registered by museums which should be notified in the case of any change in ownership. 13. The exportation of cultural goods is governed by the Law No. LXIV of 2001. Cultural goods may be finally exported from the country only in the possession of a license issued by the National Office of Cultural Heritage. A special company – in corporation with Nagyházi Gallery – deals with the exportation of cultural goods to be exported without license or with a final exportation license (licensing, packaging, customs clearance, transportation). For further information, as well as expertise and quotation, please contact FOR-ANT-EX (H-1071 Budapest, Városligeti fasor 47-49.)on the phone number 00-36-1321- 3742 or by their e-mail address: [email protected]. 14. Credit Cards –Visa, Master Card- subject to an additional 3% chargemay be accepted at the sale. 15. Unsold lots may be asked to be re-auctioned by the agent at the end of the sale. The Euro rate indicated in the catalogue is only for information. The basis of the account shall always be the exchange rate at the date of the payment of the purchase price.

Nagyházi Galéria és Aukciósház as agent/auctioner Budapest, May 2012

Fontos információk a vásárlók számára Írásbeli vételi megbízás Megbízás alapján is teljesítünk vásárlásokat. Szolgáltatásunk ingyenes. A tételt a többi licit függvényében a lehető legalacsonyabb áron biztosítjuk. Ugyanolyan összegű megbízás esetén a korábban beérkezőt részesítjük előnyben. Kérjük, mindig határozza meg a felső limitet, azt az összeget, amit, ha részt vesz az aukción, megadna a tárgyért. Enélkül vásárlási megbízásokat vagy korlátlan limiteket nem fogadunk el. Telefonmegbízásokat csak a megbízó kockázatára és írásbeli (levelével vagy fax bank garancia) megerősítés alapján fogadunk el. Faxszámunk vételi megbízás esetén: Nagyházi Galéria (36-1) 475-6005. A sikeres licit érdekében határozottan felhívjuk a figyelmét, hogy megbízását legkésőbb 24 órával az aukció előtt juttassa el.

Licitálás tárcsával Az aukció megkönnyítése érdekében kérjük kedves vásárlóinkat, hogy tárcsával árverezzenek. A számozott tárcsák megkönnyítik az aukció vezetőjének, hogy az Ön licitjét azonosítani tudja. Abban az esetben, ha Ön a sikeres licitáló, kérjük, győződjön meg arról, hogy az aukció vezetője az Ön számával ütötte le a tételt. Bármilyen probléma esetén azonnal jelezzen az aukció vezetőjének. Az Ön kényelme érdekében lehetőség van regisztrálásra. Ez esetben az Önnél leütött tételeket tárcsaszámával gyűjtjük, melyet licitálása befejezése after egyben rendezhet.

A katalógusban előforduló szakkifejezések hungarianázata 1. Az a festmény, amely a katalógusban a painter nevével szerepel, véleményünk szerint az illető painter műve. Pl. Steen Jan H. (1626–1679). 2. Az a festmény, amely a katalógusban „…nak tulajdonított” műként szerepel, véleményünk szerint feltehetőleg annak a painternek a műve. 3. Az a festmény, amely mellett a „műhely” jelzés áll, véleményünk szerint az illető művész műhelyében készült, akár személyes közreműködésével. 4. Az a festmény, amelyet „köre” signature láttunk el, véleményünk szerint egy, a painter hatása alatt dolgozó másik művész egykorú munkája. 5. Az a festmény, amelyet „…követője” signature láttunk el, véleményünk szerint egy, a feltüntetett művész stílusában készült, de később működő művész munkája. 6. Az a festmény, amelyet „…iskola” signature láttunk el, továbbá hely vagy régió és/vagy dátum megnevezéssel, véleményünk szerint abban az időben és helyen készült, pl. Naplesi iskola 17. század. 7. A „jelzés” véleményünk szerint azt jelenti, hogy a szerzőt nem lehet teljes biztonsággal azonosítani, vagy hogy a jelzés később került a képre, más kéztől származik. 8. A képek méretét cm-ben adjuk meg (magasság, szélesség).

Fizetés módja A fizetés módja az árverési feltételek 4. és 5. pontja szerint készpénzzel történik. A kikiáltási árakat euroban a katalógus lezárásakor érvényes árfolyam alapján számítottuk ki. Az árverés idején ettől eltérő árfolyam lehetséges. Telefonon történő licit vagy írásbeli vételi megbízás esetén a vételárat a Nagyházi Galéria számlájára: forint átutalása esetén IBAN HU 56 10300002-20110565-00003285; euró átutalása esetén IBAN HU 38 10300002-51200042-26304883; GB Pound átutalása esetén IBAN HU 38 10300002-2011056540420017 (Hungarian Külkereskedelmi Bank Rt. Budapest, Váci u. 38.) küldeni szíveskedjék. A szállítás költségei a vevőt terhelik.

5

Important Information for Buyers Absentee Bids

If instructed we will execute bids and advise intending purchasers. This service is free. Lots will always be bought as cheaply as is allowed by other bids. In the event of identical bids the earliest will take precedence. Always indicate a „top limit” – the amount to which you would bid if you were attending the auction yourself. „Buy” of unlimited bids will not be accepted. Orders when placed by telephone are accepted only at the sender’s risk and must be confirmed before the sale by letter or fax (with bank guarantee attached)Fax no. for bids only: Nagyházi Galéria (36-1) 475-6005. To ensure a satisfactory service to bidders we strongly urge you to send bids so that they are received at least 24 hours before the sale.

Paddle Bidding

To assist the progress of the sale all intending buyers are asked to collect a bidding paddle before the commencement of selling. All intending purchasers should bring with them some personal identifications. The numbered paddle may be used to indicate your bid to the auctioneer during the sale. Should you be the successful buyer of any lot please ensure that your bid paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer please draw the auctioneer’s attention to it immediately. All lots sold will be invoiced to the name and address given on the issue of the numbered bid paddles and cannot be transfered to other names and addresses. Please do not mislay your paddle. In the event of loss please inform the sales clerk immediately as others could misuse your paddle. At the end of the sale please return the paddle to the registration desk.

Storage Charges

Items not collected within 14 days will be liable to storage transport and insurance charges.

Methods of Payment

Payment should preferably be made in cash immediately after the sale (see conditions of sale, point 3. and 4). The starting prices placed in the catalogue are given in euro based on rates of exchange i.e. the date for the dead-line of the catalogue. Please, note, that rates of exchange may be different on the date of sale. For telephone bidding and absentee bids only: payment in HUF to the bank account of Nagyházi Galéria IBAN HU 56 10300002-20110565-00003285 (Hungarian Külkereskedelmi Bank Rt. 1056 Budapest, Váci u. 38.); payment in EUR to the bank account of Nagyházi Galéria IBAN HU 38 10300002-51200042-26304883 (Hungarian Külkereske-delmi Bank Rt. 1056 Budapest, Váci u. 38.); payment in GB Pound to the bank account of Nagyházi Galéria IBAN HU 38 10300002-20110565-40420017 (Hungarian Külkereske-delmi Bank Rt. 1056 Budapest, Váci u. 38.). Please include lot number, your name, account num-

6

ber and invoice number with your instructions to the bank. (Payment has to be made immediately for absentee bids and telephone bidders.) Buyers are advised that property will not be released until payments have been cleared. Despatch will be at the buyers expense.

Explanation of Cataloguing Terms 1. Pictures catalogued under the surname and Christian name of the painters are in our professional opinion works by the artists indicated, e.g. Steen, Jan (1626–1679). 2. Pictures catalogued with the phrase tulajdonított (=attributed to) are in our learned opinion works made probably by the artist indicated. 3. Pictures catalogued with the phrase műhelye(= Studio of) are in our learned opinion works made in the studios of the artists indicated, executed possibly under their direction e.g. Studio of Steen, Jan H. 4. Pictures catalogued with the phrase köre (= Circle of) are in our learned opinion works made in the period of the indicated artists’ activity and under their influence. 5. Pictures catalogued with the phrase követője (= Follower of) are in our learned opinion works by an other artist working in the style of the indicated artists but at later dates. 6. Pictures catalogued with the phrase iskolája (= School) each accompanied by a placename and date are in our learned opinion works executed at the indicated time and location, e.g. Olasz 18. század, Italy. 18th century. 7. The term jelzés (=„bears a signature”) means that the artist could either not be identified or that the artist’s name has been added at a later date by another hand. 8. Dimensions are given in cms, height before width. 9. The prices in the catalogue are not estimated but first bidding prices as is the custom in Hungary.

INDEX 217

Frank Frigyes 385, 388, 399, 402

479

Clodion, Claude Michel

213

Friedländer, Alfred

174

18th century

214

Cossiers, Jan

Fürjesi Csaba

476

ITALIAN Painter,

99

Adorján Attila Aichele, Paul Albotto, Francesco

ITALIAN Painter, beginning of the

Cipriani, Adolfo

A.O. monogram

54

31

1

G. V. monogram

After Cuylenborch, Abraham van,

43, 65 93

first half of the 18th century

Angyalföldi Szabó Zoltán

474

18th century

44

Gaády Käyser Lajos

512

ITALIAN Painter, end of the 18th

Anto (Antoszkiewicz), Maria

481

Czencz János

380

Gádor Emil

419

century

Czene Béla, the Younger

386

Gádor István

509

Italian sculptor,

363

Antwerpeni painter, circa 1600 39 Askendolf, Anders Monsen

109

Czóbel Béla

397

Galla Endre

Asszonyi Tamás

521

Czumpf Imre

463

Garcin, Th. signature,

Csabai Kálmán

348

end of the 19th century

Csák Máté

495

After Gauermann, Friedrich,

Cserépy Árpád

156

19th century

460, 464

Bálint Endre

88, 96,

Barabás Miklós

98, 129, 130

60

second half of the 19th century 216 Ivanácz Zsolt József

106

405

Workshop of Iványi-Grünwald Béla, 425

circa 1930 107

Workshop of Iványi-Grünwald Béla, beginning of the 20th century 368

Barcsay Jenő

465

Csernus Tibor

454, 457, 470

Gauermann, Friedrich after,

Bartl József

500

Dalí, Salvador

466, 469, 489

second half of the 19th century 108

472

Dana, A.A.Gd signature

501

Gautier, Jacques Louis

223

Járitz Józsa

413

Dayka Antal

354

Gemito, Vincenzo

220

Jobbágyi Gaiger Miklós

379

De Chirico, Giorgio

459

Giandi, Luciano signature Rubens

K. Spányi Béla

149

Kádár Béla

320

Baska József Bassi, E. signature, end of the 19th century

117

19th century

53

18th century

Begeyn, Abraham Jaun

42

Diener Dénes Rudolf

78

after, 19th century

South-Italian painter,

after Batoni, Pompeo Girolamo,

47 329

352

Glatz Oszkár Gobell Smith signature,

beginning of the 20th century 153

Belányi Viktor

333

After Dolci, Carlo,

Bencze signature

158

beginning of the 19th century

Benczúr Gyula

123

Dudits Andor

Benkhardt Ágost

350

64 377

131, 143

Éder Gyula

471

Karvaly Mór

154

Gruber Béla

316

Kássa Gábor

Egry József

346

Gulácsy Lajos

Berkes Antal

168, 204, 306, 340

Northern Italian painter,

323

circa 1600

Beron Gyula

349


Birkás István

522

18th century

Bernáth Aurél

Circle of Bloemen, Jan Frans van, first half of the 18th century

45

Boemm Ritta, Fehér Kálmánné 409 Boldizsár István

311, 366, 383

50 36 41

Kelety Gusztáv

182

Kemenszky Árpád

394

452, 461, 506, 507

Hagyik István

351

Kéri László

Hajnal Mihály

436

Kern, Herman

Hajós Imre László

496

Kézdi Kovács László

4

Harpignies, Henry-Joseph Háry Gyula

Faragó Márton

359

Hatvany Ferenc, Baron

510, 517

391

Kerényi Jenő

132

Fekete József

Kaufmann, Karl

456

Györky József

Faragó signature, circa 1900

Fekete M. signature,

166 111, 113

84 447, 451

Gyarmathy Tihamér

18th century

439

139

20th century

90

Károlyi Ernő.

Gremsperger Ernő Guérard, Bernhard von

mid 19th century

392

Károlyi Zsigmond

165


475

Karlovszky Bertalan 162

Edvi-Illés Aladár

171

Kántor Lajos

Greguss János

Beregi S. signature, beginning of the Berger signature,

312, 313

Jancsek Antal

194, 195, 304

438 91 197

Kisfaludi Strobl Zsigmond Kleinheincz Magdolna

516 434, 435

317

Klie Zoltán

408

Hegedűs László

321

Klimó István

360

Hegyi György

442

Kokas Ignác

498

100

Borúth Andor

142


Hermann, Ludwig

Kondor Béla

453

Börtsök Samu

365

Feleki Fetter Frigyes

410

Hikádi Erzsébet, Czene Béláné

Konfár Gyula

384

Bragnoli signature, beginning of the

Fényes Adolf

327

395, 493

Koppány Attila

432

20th century

426, 427

Kosarek, Adolf

Fenyő Andor Endre

362

Hincz Gyula

32

Ferenczy Béni

511

Holesch Dénes

155, 159, 202

Ferenczy Valér

301

Dutch painter, circa 1700

339

Brescia painter, circa 1580 Bruck Lajos Buhály József

484

Feszty Árpád

170

Hollósy Simon

Burchard Bélaváry István

138

Fiume, Salvatore

520

Ibres Alters signature

Francesco Tironi

46

After Canova, Antonio, 19th century Cassana, Giovanni Agostino

218 40

33 179 92

97

Koszkol Jenő

336

Kovács Ferenc

134

Kovács Margit

502, 503, 504

Körösfői-Kriesch Aladár

Illencz Lipót

200

Közép-európai painter,

French painter,

Ilosvai Varga István

400

18th century


ITALIAN Painter, 17th century

French painter,

ITALIAN Painter,

French painter, circa 1800

Follower of Canaletto,

404


79

310

18th century

72

51, 69

326 71

Kübler, Ludwig

196

Lakos Alfréd

146

Le Roy, Jules

118

7

Polish painter

341

Polish painter, 18th century

73

German painter, 18th century

58, 63, 70 101

Paini, A. signature,

163

Seifert, Victor Heinrich

221

Páll Lajos

418

Senyei Oláh István

322

Pándi Kiss János

505

Siegel, Anton

2, 3

Pap Domonkos

334

Sikuta Gusztáv

480

Somogyi József

515

Steinacker, Alfred

114

Polish painter, circa 1870

148

German painter, circa 1800

Ligeti Antal

105

German painter,

Litteczky Endre

364


Lotz Károly

181

German painter, second half of the

Pécsi Pilch Dezső

Löschinger Hugó

353

19th century

76

414, 417

Sugár Gyula

441

Perlmutter Izsák

172, 356

Szabó Antal

342

422


Picasso, Pablo

458

Szabó Gyula

387, 444, 446

124

German sculptor,

Plammer signature

152

Szánthó Mary

376, 381, 382

357

Szász Endre

490

Székely Andor, Dobai

305

Mácsai István Madarász Viktor

Hungarian painter, circa 1850 125


11

Poll Hugó

Hungarian painter,

Dutch painter, 18th century

38

Pólya Tibor

122

Neogrády Antal

192, 193, 198,

Hungarian painter,


Neustück, Maximilian

Hungarian painter,

West-Hungarian sculptor,


126, 180

Hungarian painter, circa 1920

319, 378

Hungarian painter, beginning of the 318

20th century

412

Pekáry István

87

mid 19th century

448, 449

German painter,

Lukáts Sámuel

57, 75, 128

Papp Oszkár

207, 208, 314, 315, 416 37

18th century

14

367, 369

Pongrácz (Popper) B. Szigfrid


Szilády Margit

330

Prohászka István

Szilvássy Pál

332

160

Circle of Purgau, Franz Michael

Russian Gellért

423

Rác András

437

Sztelek Norbert

411

Ranftl, Mathias

116

Szüle Péter

157

Tahi Antal

201

199

Telcs Ede

215

21, 29

circa 1800

Rechert, J. signature,

first half of the 19th century Russian icon painter,

After Reni, Guido,

Hungarian sculptor,

second half of the 19th century


508

22, 26

end of the 19th century Russian icon painter, circa 1900

13

30

Russian icon painter,

Hungarian sculptor, Mailer, F. signature,

circa 1900

17, 18, 19, 20, 23, 24

Hungarian painter, 17th century 56 18th century

110 5

Mansbarth, L. signature


62

18th century

203

Austrian Painter,

403


Marton László

519

Martsa István

514

443, 445

Réti Mátyás

401

Trifonov, Georgi

Follower of Ribera, Jusepe de, 34

Uitz Béla

462

Ujházy Ferenc

150

Rilcoucourt, J. signature,

Vadász signature

344


Vágh-Weimann Elemér

389

407

Ridovics László

355, 358, 375

Roman painter, 18th century

222

183

Varga Vasil

406

Vasarely, Victor 482, 483, 485, 486, 487, 488

Rottmann Mozart

135, 140, 173

Vaszary János

Austrian Painter,

Ruben, Franz Leo

167

Austrian Painter, first half

48, 68, 147

of the 19th century

175, 176, 177, 178,

Austrian Painter,

184, 185, 186, 187, 190

mid 19th century

77, 83, 127

Dyck after, 19th century

Vernet, Claude Joseph after,

55

After Rubens, Pieter Paul, 35

Rubens, Pieter Paul after, beginning of the 19th century

second half of the 19th century

Rudnay Gyula

468

80, 119, 120, 144

Molnár Z. János

335

Austrian sculptor,

Móritz Sándor

331


Nádler Róbert

303, 308

205 209

Austrian sculptor,

Nagy Vilmos

206

circa 1920

Náray Aurél

337

Négely Rudolf

302

212

59

347, 372

103

Vernier, Emile Louis Véső Ágoston

49 421

circa 1800

Austrian Painter,

Austrian Painter, circa 1900

Velencei painter, 18th century Vén Emil

end of the 18th century 74, 86, 89

188, 455

Rubens, Pieter Paul and Anthonis van

309 370, 373, 374

52

Vágó Sándor


499

115, 151

467 433, 477

Turcsán Miklós

Vastagh György, the Elder 136, 328

Mednyánszky László baron

8

343, 345

Tóth Menyhért


Medgyessy-Kovács Gyula

Molnár C. Pál

Tornyai János

Austrian Painter,

19th century

Miro, Joan

95

133

Mihalovits Miklós

393

Rónai signature,

Maury, Francois

Mészöly Géza

104

Tihanyi Lajos 191

Róna József 7

Telepy Károly

Réti István

Rippl-Rónai József

Margitay Tihamér

440, 491

28

Austrian Painter,

Marosán Gyula

Martyn Ferenc

6

Reissmann Károly Miksa

17th century 16, 25, 27


circa 1900

494

Siegmund von

Hungarian sculptor, 18th century 12

20th century

145

Szőnyi István

513


61

Szkicsák Klinovszky István

Olcsai Kiss Zoltán

first half of the 20th century 307, 398

Hungarian sculptor, beginning of the

121, 189 141


15

Székely Bertalan Szenes Philipp

Hungarian painter,


219

Pray signature,

102 429, 430, 450

Veszprémi Imre

518

Vigée-Lebrun, Elisabeth after

94

S.E. monogram

67

Vígh Bertalan

169

Sándor József

325

Vlaszov, Alekszej

478

Scheiber Hugó

396

Wagner signature

85

Schéner Mihály

Wagner, Hans Johann

112

Zeller Mihály

361

420, 428, 431, 492, 497

Schmidt (Kremser Schmidt) Martin

Zemplényi Magda

Austrian vagy German painter,

Johann

Zemplényi Tivadar


Schönberger Armand

82 424

Zombory Lajos

473 137, 324 371

1. 2. 3.

1. Signed G. V. Diana and Calysto, 1799 brown ink, paper, 400 × 555 mm, signed: G. V. 1799

Starts with: 280 000 HUF

€ 970

2. siegel, anton (1763 – Vienna, 1846) Ágfalva from the direction of Bánfalva, 1840 water-colour, paper, 195 × 305 mm, lower left: Agendorf Herbst 1840 XXVII Exhibited: Museum of Sopron, 2001. lot XXVII.

3. siegel, anton (1763 – Vienna, 1846) Saint Michael church in Sopron water-colour, paper, 250 × 225 mm no signature found, lower left: LXX



€ 310

€ 310

9

4. 5. 6.

4. Harpignies, Henry-Joseph (Valenciennes, 1819-SaintPrivé, 1916) Landscape with hills I. and Landscape with hills II., 1883 water-colour, paper, 78 × 121 mm; 75 × 121 mm signed: Ingresso al Sacro Speco 30/10 83 painted on the artist's visit to Italy in 1883, these are 2 pages of the his sketch album of 26 pieces


€ 550

5. Mansbarth, L. signature Rocky landscape with mountain goats, 1856 indian ink wash, paper, 385 × 285 mm, signed: L. Mansbarth 856, damaged

6. Reissmann, Károly Miksa (Neustadt, 1856-Bp., 1917) Landscape with shore and figures, 1878 Indian ink wash, paper, 190 × 240 mm, signed: M. Reissmann, lower left: 1878



10

€ 280

€ 290

7.

7. Austrian Painter, beginning of the 18th century Saint Ignatius of Loyola, Annunciation, Maria Immaculata painted glass, 25,5 × 19,5 cm, no signature found damaged, in original frames


€ 310

11

8. 9. 10.

8. WORK OF A MONASTERY Kosztka Saint Stanislav Austria, 18th century, gouache, paper, polio, coloured glass, 32 × 26 cm, in 18th century frames

9. WORK OF A MONASTERY Maria Immaculata Austria, end of the 18th century, gouache, paper, polio, 29,5 × 21 cm, in 18th century frames



€ 410

€ 240

10. Relic-holder cross Oberammergau, 18th century, carved wood, m: 29 cm, decoration of Arma Cristi symbols on the back, in the stem of the cross inscripted polio-decorated relics


12

€ 520

11.

11. German sculptor, first half of the 16th century Saint John the Evangelist carved, painted, gilt wood, m: 103 cm, damaged

Starts with: 1 400 000 HUF

€ 4 830

13

12. 13. 14. 15.

387626

12. Hungarian sculptor, 18th century Angel carved, painted wood, m: 89 cm, damaged, imperfect


€ 830

13. Hungarian sculptor 18th century Angel carved, painted wood, m: 51 cm, damaged


€ 620

14. West-Hungarian sculptor, 18th century Saint Imre carved, painted wood, m: 96,5 cm, damaged


€ 970

15. Hungarian sculptor first half of the 19th century Saint Stephen carved, painted wood, m: 113 cm damaged, imperfect


14

€ 760

16.

387373

16. Russian icon painter, circa 1900 Mother of God - Kazan oil, wood, 83 × 67 cm, carved, in a gilt frame of vine forms (киот), coloured cloisonné with inlaid silver oklad, Hlebnyikov sign, 84 zlotnyik silver, glass candle holder


€ 1 900

15

17. 18. 19. 20.

17. Russian icon painter, second half of the 19th century Virgin Mary of Kazan oil, wood, 31,5 × 25,5 cm, damaged

18. Russian icon painter, second half of the 19th century Mary with Jesus oil, wood, 31,5 × 27 cm, damaged



€ 310

19. Russian icon painter, second half of the 19th century Preaching Christ oil, wood, 31,5 × 27 cm, damaged


16

€ 380

€ 280

20. Russian icon painter, second half of the 19th century Saint John the Baptist oil, wood, 33 × 30 cm, damaged


€ 280

21. 22. 23. 24.

21. Russian icon painter, circa 1800 Luke the Evangelist oil, wood, 44 × 33,5 cm, damaged


€ 480

22. Russian icon painter, end of the 19th century Mary and Jesus with saints oil, wood, 40 × 35 cm, damaged


€ 410

23. Russian icon painter, second half of the 19th century Depictions of Mary with Saint Dimitrij oil, wood, 30 × 26 cm, damaged

24. Russian icon painter, second half of the 19th century The death of Mary oil, wood, 31,5 × 27 cm



€ 280

€ 280

17

25. 26. 27.

25. Russian icon painter, circa 1900 Jesus the Messiah oil, wood, 72 × 57 cm in carved, gilt frame (kiot), no signature found


€ 480

26. Russian icon painter, end of the 19th century Mary of Tyihvin oil, wood, 26 × 22 cm, damaged


€ 170

27. Russian icon painter, circa 1900 Orans Mary oil, wood, 30 × 26 cm, with pressed copper oklad


18

€ 170

28. 29. 30.

28. Russian icon painter, beginning of the 20th century Saint Nicolas oil, wood, 32 × 27 cm painted cloisonné with inlaid silver oklad


€ 1 900

29. Russian icon painter, circa 1800 Saint Nicolas oil, wood, 53 × 43 cm, restored


€ 760

30. Russian icon painter, first half of the 19th century Mary with Jesus oil, wood, 43,5 × 36,5 cm, restored


€ 620

19

Cossiers, Jan (Antwerp, 1600-Antwerp, 1671) The Apostle Paul Provenance: In the art market of Berlin, 1931 In the collection of Dr. Anneliese and Günter Henle (Duisburg) from 1962 In a Hungarian private collection from 1997 Exhibited: Wallraf-Richartz Museum Cologne, Exhibition of 1964 Schenker & Co.GMBH., Cologne, 1966.08.24. London, Sotheby’s, 1997

This painting has been known to international research since 1931. According to Max Binder, it was an early work of Watteau. 30 years later, in 1961 this attribution was changed by Edouard Plietzsch, who assigned it to Jacob de Witt (1695 – 1754). Witt mainly used Rubens’ reminiscence for his drawings. The style of Saint Paul compositions cannot be found in any of his oeuvres. Witt was primarily known for his grisaielles depicting pseudo reliefs. In 1964 at the Museum of Köln’s exhibition “The great century of Dutch paintings”,it was once again attributed to Jacob de Witt by Horst Vey. The painting featured in the collection of Henle of Duisburg.1 A Dutch art historian Fred G. Meijer was the first to suggest that the painter might have been Jan Cossiers from Antwerp.2 The painting was auctioned in London in 1997 with the same attribution and as part of the Henle collection.3 Jan Cossiers commenced his studies in his father and Cornelis de Vos’ (1584-1651) workshop. In 1623, he left for Rome accompanied by Abraham de Vries, stopped in Aix-en-Provence however, where he started to work for an expiatory brotherhood called “Penitens Noir” and for his later patron, the great scholar of baroque European Portrait of Jan Cossier intellectual life, Nicola-Claude Fabri de Peiresc. He worked in Rome between 1624 and 1626 under the influence of Caravaggio’s style. On his way home, he spent a great deal of time (1626-1627) in Aix-en-Provence again. Thanks to his humanist patron, from 1628 on he became a member of the Saint Lukas painter’s guild in Antwerp and also found his way into Rubens’ workshop.4 He was Rubens’ assistant for Prince Ferdinand’s triumph decoration and for the painting of the Torre della Parada series. In 1640 he was elected dean of the Saint Lukas guild in Antwerp. The themes of his known paintings were secular, principally genre compositions, at the same time he also undertook ecclesiastical orders for the churches of Brabant and Mechelen. Cossiers turned into one of the most outstanding masters illustrating religious themes relating to Counter-Reformation in Antwerp after 1650. With regard to the theme of the wooden panel of the Henle collection, once auctioneered at our gallery, this depicts Saint Paul, the 13th Apostle, who came from a well-accomplished Jewish family in Tarsus, spoke perfect Greek, and was a radically argumenting missionary, and here he is depicted as an old man by Cossiers. He holds a sword in his right hand, which is his attribute. The motion of the finely painted fingers, the stance of the hands and his emotional countenance turning to the side introduce a character contrary to his militant preacher background. The excellent quality of the painting reflects the mature style of the painter, that can be associated with assimiliated remote French caravaggesque naturalism, with the virtuosity of Rubens in form and colour, as well as the knowledge of the contemporary, great Dutch masters such as Rembrandt and Lievens, also can be seen. His style recalls the latter mentioned painters not because of the painting technique or the way the surface is treated, but because of the soul illustration. There are similar sacral compositions that are well-known in the world’s outstanding museums (Ecce Homo, oil, wood, 73 x 54 cm, signed: JC, Paris Louvre, r.17.) and private collections (Saint Mark teh Evangelist, Heiloo, priv. Coll., RKD archive no. 32695; Penitent Magdalen, o-v. 63,5 x 49 cm, Rieunier & Associés SARL, 2012.03.19. no.76.). Sadly though, a modern monography of Jan Cossiers oeuvre is still expected and the dissertation about his work,written over 2 years ago, still remains but in the form of a manuscript (J. Stoffels: Jan Cossier 1600-1671 Een monografische benadering, Rijks-Univ. Gent 1986). Still his works remain an outstanding representation of the Flemish Catholic life. To the best of our knowledge this is the only piece of his oeuvre located in Hungary (Saint Mark teh Evangelist, Heiloo, priv. Coll., RKD archive no. 32695; Penitent Magdalen, o-v. 63,5 x 49 cm, Rieunier & Associés SARL, 2012.03.19. no.76.). Sadly though, a modern monography of Jan Cossiers oeuvre is still expected and the dissertation about his work,written over 2 years ago, still remains but in the form of a manuscript (J. Stoffels: Jan Cossier 1600-1671 Een monografische benadering, Rijks-Univ. Gent 1986). Still his works remain an outstanding representation of the Flemish Catholic life. To the best of our knowledge this is the only piece of his oeuvre located in Hungary Master mark of the panel manufacturer László Lengyel 1 Die Sammlung Henle : aus dem Grossen Jahrhundert a niederländischen Malerei, Wallraff-Rihartz Museum, Cologne 1964-02-22.- 1964.04.05. no.44. 2 Fred G. Meijer, the associate of Hague-born Rijksbureau voor Kunsthistorische Dokumetatie and the member of the Dutch Editors Committee Oud. With several exact attributions, he widened our knowledge on the European painting. 3 London Sotheby’s 1997. 12. 3. Lot. 42. 4 Boyer, Jan: La Peinture et Gravure a Aix-en-Provence au XVIe, XVIIe et XVIII e siècles (1530-1790) Gazette des Beaux-Arts, Paris Tome LXXVIII 113e Année, 1971. p. 19

20

31.

31. Cossiers, Jan (Antwerpen, 1600-Antwerpen, 1671) Saint Paul Apostle oil, wood, 64,5 × 48 cm, no signature found, in carved flemish frame of its time

Starts with: 6 000 000 000 HUF

€ 20 690

21

Painter of Brescia, circa 1580 Unknown man, presented as Saint Hermenegild

This work of art, typical of the Venetian and Northern Italian Renaissance clear oil technique painted on canvas, had so far been unknown in Hungarian literature. According to an assumption, it had already been in Hungary for quite some time, even if only temporarily, whereas it is also possible that after it was taken abroad, the piece of art was only returned in the first half of the 20th century to Hungary. These conclusions may be drawn from the illustration of the coronation and based on the information retrieved about the former owner of the painting. The painter is thought to have originated from Domenico Tintoretto’s circle. There is a certain degree of similarity between some of the elements of this composition and of those revealed in Venetian Renaissance masters. This similarity is but what the Northern Italian stereotypes of the time made comprehensible, even compulsory. In comparison with the Venetians however, the style and further details of the piece of art are entirely different and are closer to works of the masters of Brescia, Moretto da Brescia, Gerolamo Romanino, Lattanzio Gambara and Paolo Lomazzo. While Moretto’s influence can be seen on the main figure, Romano’s can be viewed on the background – as is typical of late Renaissance paintings, this also is eclectic and draws on more sources. Saint Hemenegild was canonized in 1585, so it seems feasible that the painting was made shortly after this date. However, the Great Saint Hermenegild was titled shortly after his death as a martyr. Philipp II and the tridentine council pronounced him as an early example, as he opposed against the Aranian Catholic religion. For this he was seen as one of the martyrs of the Catholic religion and became a symbol of the battle against Protestantism and from then on the name Hermenegild became very popular in the West and in the Latin colonies. The quality of the painting will emerge after the restoration of this painting, but still in today’s form it is a very unique masterpiece. The crown in this painting is an attribution in place, as Hermenegild was a ruler as well. Close examination can reveal whether there are any other items of interest under the Hungarian crown or that it was painted there originally. Nonetheless, it is a fact that the depiction of the crown is a later addition to the painting itself. That is, it is based on an engraving that was made in 1613 for the work of Crown Guard Péter Révai, which was based on his own verbal communication, and so it contains many errors. This engraving was used for thirty years, despite there already being authentic depictions of the crown, for example on the Matthew II coin. The skew of the cross is again interesting, as it might also be a later correction. It is also unique that the painting comes from the collection of Zoltán Máriássy, the former commander of the Hungarian Crown Guard. He gave some of his collections to relatives, some were held in warehouses and some were kept in a safe of a bank during World War II. Besides the paintings from the 16th-18th century, he also owned Meissen porcelains, filigrees, magnificent items of furniture and a notable carpetcollection. Máriássy was an excellent collector, but his collection was confiscated by the Russians. His paintings were seen by the writer of this text. The transported pieces that can be documented were published in 1998 in my book „Sacco di Budapest”. László Mravik

22

32.

32. Master of Brescia, circa 1580 Uknown man, as Saint Hermengildo oil, canvas, 100 × 84 cm, no signature found, upper right: latin label, damaged


€ 13 100

23

33. 34.

33. DUTCH Painter, circa 1700 Descent from the cross oil, canvas, 111 × 85 cm, no signature found


€ 2 760

34. Ribera, jusepe Follower, 17th century Christ among the teachers oil, canvas, 118 × 152,5 cm, no signature found


24

€ 4 140

35. 36.

35. After Rubens, Pieter Paul, end of the 18th century Education of Mary of Medici oil, canvas, 46 × 34,5 cm, no signature found


€ 4 140

36. Northern Italian Painter, circa 1600 Moses rescued from the Nile oil, canvas, 131 × 110,5 cm, no signature found on the back: label of Autcioneer hall, damaged


€ 2 070

25

37. 38.

37. Neustück, Maximilian (Mayence, 1756-Bale, 1834) Saint Philipp baptises the eunuch, 1829 oil, canvas, 117 × 90 cm signed: M. Neustück 1829


€ 3 790

38. Dutch painter 18th century Worship of the pastors oil, canvas, 76 × 95 cm, no signature found


26

€ 2 240

39.

39. Painter of Antwerpen, circa 1600 Resurrection of Christ oil, wood, 65 × 47 cm, no signature found, damaged, in a gilt, carved frame from the 17th century


€ 13 790

27

Cassana, Giovanni Agostino (Abate Cassana) (circa 1665, Velence – 1720 Genova)

Cock, chicken, goose and turkey with a guinea pig, circa 1700

Giovanni Agostino Cassana is known for his Baroque animal and still life paintings. His Genovese father, Giovanni Francesco Cassana (1610-1690), who was born and brought up in Venice, worked as a painter, studied in workshops of such great masters as Bernardo Strozzi (1632), and amongst his students was the outstanding Baroque painter Giovanni Battista Langhetti (1648). He was also the first of his sons’ masters. Niccolo Cassana (1659-1714) was a successful portraitist both in the Florentine court and in London, he also painted with his brother, Giovanni Agostino (The cook, 1707 c. and the Portrait of Angela Biondi in a landscape, 1707 Firenze, Uffizi no. 7571Fi, no.5140). All four of Cassana’s children became painters, Maria Vittoria (?-1711) painted small devotional paintings, Giovanni Battista Cassana (1668-1738) painted flowers as well as still life paintings.1 Giovanni Agostino, the eldest among his children, gained aknowledgement through his still life paintings and animal pictures. His art was influenced by his father and by those Flemish and Dutch painters, who by the second half of the 17th century, spread a depiction style, formerly developed in the low countries Cassana developed his special genre of combining live animal portrayal with that of still life paintings after the influence of Melchior de Hondecoeter (1636-1695), the Dutch Jacob Victors (1640–1705) and the Flemish Jan van de Kerckhoven (1637 ca. – 1712 ca.), in Italy known as “ Jacopo da Castello Cimiterio”. His works cannot yet be dated specifically due to the current state of processing his oeuvre. His earliest work, dated to 1704, a still life in the kitchen with fish, was earlier to be found in London, but now is preserved in a Genovese collection.2 In 1706, six paintings were delivered to Lucca for Stefano Conti, patron of the Venetian art and one of the most significant trader-collector of his time..3 After his Venetian and Florentine years, he returned to his hometown, Genoa in 1718, where he is seen as the most acknowledged painter of still life paintings after his predecessors Anton Maria Vassallo (1620-1673) and G. B. Castiglione (1609-1664). This very work of art has been known for a decade to Hungarian research. Based on the quality of the painting, it was then assigned to an “Italian painter, circa 1700:Poultry-yard” by Ildikó Ember, who also pronounce the painting protected.4 The graphic techniques of the painting – that is his fresh painting method emphasized by formal solutions to create naturalistic elements and a harmony of the colours using effects and light and shadow – are Cassana’s stylistic characteristics. The only unrealistic part in this painting is the presence of the guinea pig among the militant birds of a poultry-yard. It was typical of him to create similar odd combinations of animals in his works. The authenticity of this painting is confirmed by the fact that a variant of the composition can be found in a Genovese collection.5 The arrangement of the animals, their movements, moreover the placement of the guinea pig are identical on both paintings. It is only the background elements that are diverse. The background of the version in Budapest is closed down by a board fence on the left, whereas the Genovese has a landscape with mountains on the right. Minor differences in the foreground can also be observed. Two marguerites appear in the Hungarian version, meanwhile there is a green, hardly definable plant with green leaves in the Genovese-version at the same spot on the paintings.. The “ main figure” of the composition, the gaggling goose can also be found in another composition of Cassana (Pastor scene, oil, canvas 97 x 142 cm, Museo Civico Padova, no. 1248)6. Typical for animal painters is that they developed certain types was the characteristic movements of the animals that later could be used in various compositions in various alignments. G. A. Cassana’s genre paintings with live animals and still life paintings can be found in the world’s greatest museums and collections, they are great representations of the Genovese Baroque painting in the art world. This painting is the only known work of art in Hungary. László Lengyel

1. picture

2. picture

3. picture

1. picture: G. A. Cassana: Poultry with guinea pig, oil, 90 x 123 cm (?) Genova, Private collection 2. picture: Portrait of Giovanni Agostino Cassana (1665 k. -1720 k.) 3. picture: G. A. Cassana: Pastor scene, oil, canvas, 97 x 142 cm, Museo Civico Padova, inv.no. 1248 1 James R.Hobbes: The Picture Collector’s Manual adapted to the Professional man and Amateur. London, 1849, p.82. 2 La Pittura a Genova e in Liguria, secondo volume ed.: Ennio Poleggi, Genova, 1987, p.311, ill. 267. 3 Stefano Conti’s (1654-1739) Venetian agent conducted purchases through the painter Alessandro Marchesini starting from 1705. He bought works by Canaletto, Luca Carlevaris and Gregorio Lazzarini, as well as G.A. Cassana. Fransis Haskell: Stefano Conti, Patron of Canaletto and others. The Burlington Magazine 1956, Vol.98. no. 642. pp. 296-301. 4 Ildiko Ember stated: “His style resembles mostly to the style of Giovanni Agostino Cassana. ” The Museum of Fine Arts, Budapest, Criticism Nr.: 2000/243. 5 La Pittura a Genova e in Liguria dal Seicento al primo Novecento, Genova 1971, p. 344, ill. 227. The painting’s size is not correctly featured in the literature 60 × 23 cm (sic!), the correct dimension could be 90 × 123 cm. 6 La pittura del ’600 a Genova, a cura di Pier o Pagano a Maria Clelia Galassi, Milano, 1988, ill. 189.

28


€ 15 170

NO EXPORT

40. Cassana, Giovanni Agostino (Velence, 1658-Genova, 1720) Cock, chicken, goose and turkey with a guinea pig, circa 1700 oil, canvas, 92 × 127 cm, no signature found

40.

29

41.

41. Northern Italian Painter, 18th century Landscape of a seashore with fishing boats oil, canvas, 36,5 × 97,5 cm, no signature found, SZM 269/2003


€ 830

Begeyn, Abraham Jaun (Leiden, 1637 – Berlin, 1687) Italian landscape with ruins and figures, circa 1660

Based on the fragment of the signature on the rock, the theme and style of the painting, it can be confirmed that it was painted

by a Dutch painter, Abraham Jansz Begeyn. Begeyn joined the Saint Lukas guild in Leiden in 1655, then worked in Amsterdam, London and Hague. From 1688 on, he became a painter in the court of Frederick III of Brandenburg, who assigned him to paint topographical views of numerous German cities and towns. It was yet his depictions of Italian landscapes and Mediterrean seashores that primarily made Begeyn become famous. His landscapes can be linked to Jan Asselijn’s (*1615ca., 1652) and Nicolaes Berchem’s (*1620, 1683) tendency based on stylistic similarities. A parallel can be drawn to Berchem’s „In front of a Host” (sold in: Koller, 1976. 05. 28. Zürich), or Asselijn’s „Landscape with ruins and figures” (sold in: Lepke, 1932. 05. 10. Berlin). Begeyn’s paintings, which were created around 1660, were strongly influenced by Berchem and therefore were only separated in the last decades from his well-known contemporary. The Dutch landscape painters, who gained personal experiences about the landscapes and the Italian residents during their stay in Italy, established a certain way of depiction, a so-called treasure chest of motifs. These can also be viewed on Begeyn’s paintings: the animals and their keepers are illustrated in a Mediterrean environment, surrounded by rocks, antique columns, or ruins, usually together with a landscape in the background. He gladly used different tones of the colours ocher, brown and green, as well as the slightly schematic triangle composition.

All these characteristics can be detected in this painting that most likely was restored and relined at the beginning of the 20th

century. There are two of his paintings in the collection of the Museum of Fine Arts, Budapest: „Cattle” and „Landscape with shepherds”. The frame has a label with a serial number of the Ernst Museum on it, it is bearly legible, thus could not be found in any list of auctioned paintings. Júlia Tátrai

30

42.

42. Begeyn, Abraham Jaun (Leiden, 1637-Berlin, 1687) Italian landscape with ruins and figures, circa 1660 oil, canvas, 62,5 × 53 cm, signature ower left on the rock: ABeg; on the back Ernst auctioneer label, expertise art historian Júlia Tátrai


€ 7 590

31

43. 44.

43. ITALIAN Painter, beginning of the 18th century Ideal landscape with pastors oil, canvas, 62 × 75 cm, no signature found

44. cuylenborch, Abraham van (Utrecht, 1610 – Utrecht, 1658) after, 18th century Diana oil, wood, 58,5 × 78,5 cm, no signature found, BÁV 45/116; SZM 161/977, damaged



32

€ 5 170

€ 2 760


€ 10 340

45. Circle of Bloemen, jan frans van (Antwerpen, 1662 – Róma, 1749), first half of the 18th century Italian landscape with figures oil, canvas, 86 × 140 cm, no signature found, Gróf Almássy Teleki Éva Artistic institution Bp. 1943 XI. great auction

45.

33

Follower of Canaletto, Francesco Tironi, (Venice, 1745 – Venice, 1797) The upper part of the Venetian Canal Grande with the church of Santa Croce

A wide panoramic view of the Venetian main street, the Canal Grande can be viewed in the North East. The facade of the Santa Croce church and the square – campo – surrounding it, can be seen to the right of the foreground. Above the rooftops emerges the dome of San Simone Piccolo. San Geremia’s campanile appears in the far distance. The friary Corpus Domini, as well as the buildings pertaining to Santa Lucia and the Scalzi churches can be detected in the line of houses to the left. (This row of buildings, however, was destroyed up to the Scalzi church at the time of the building of the railway station). The gilded passenger ship, burchiello is trailed up the canal by a sandolo, a flat bottom ark with four paddles – in accordance with the time – and is to be seen to the left of the foreground. At the same time, gondolas are floating on the water. This painting was made indubitably, after the completion of the painting that can be dated to 1735, to the time when the copper engraving from 1742 appeared, both carried out by Antonio Canaletto (Giovanni Antonio Canal, Venice 1697-1768). The collection of photos of the Witt Library of London features, fifteen further paintings based on the latter mentioned copper engraving (for example.: Crespi-collection; Arts Council, Wobul Abbey; Gerstel auction, Keller and Reiner, Berlin21-22 January 1908 ; Sotheby’s 27 March 1968. Lot 90. etc.). The extraordinary popularity of the Canaletto-Visentini composition is accordingly revealed. Bernardo Bellotto also perpetuated this view (London, National Gallery, Itsz. NG 2514), with several differences, presumably based on the same engraving. As the veduta was one of the most popular and attractive genres in the 18th century, Canaletto had many followers and imitators. However, no research has yet been undertaken with regard to the creation of monographies of these painters. Despite the deficiency of the published material, I believe that this version was carried out by the hands of one of the last representatives of the Venetian veduta paintings, Francesco Tironi (Venice ? -1800), who was said to be the most outstanding follower of Canaletto according to Giuseppe Fiocco. The following characteristics underpin my presumption: the fine movements of the gondoliere, their thin limbs, the spotted painting of the houses, the line of flying birds in the sky, the clouds almost forming nodes and the low horizon. The closest analogy is the pair of veduta that turned up in an auction of Sotheby’s New York (30 January 1998), the „Rialto-bridge” and „The Upper part of the Canal Grande”, which also corresponds to the version in Budapest with regard to its size. The painting was once in the collection of Gusztáv Gerhardt, then in an auction in Berlin (Lepke, 10 November 1911). This painting of good quality did not only play an important role in the Hungarian history of collection, it is however, outstanding because of its unique genre. Zsuzsanna Dobos

34

46. Follower of Canaletto, Francesco Tironi, (Velence, 1745 – Velence, 1797) The upper part of the Venetian Canal Grande with the Santa Croce church oil, canvas, 63 × 98 cm, no signature found, SZM 211/2001, expertise of art historian Zsuzsa Dobos Starts with: 22 000 000 HUF € 75 860 NO EXPORT

46.

35

47. 48.

47. south-ITALIAN Painter, 18th century Still life with a watermelon oil, canvas, 69,5 × 99 cm, no signature found


€ 830

48. Austrian Painter, 19th century Hunting still life with a hound hunting oil, wood, 52 × 132 cm, no signature found, damaged


36

€ 970

37


€ 4 140

49. Venetian painter, 18th century Allegory of Sculpture oil, canvas, 87 × 133 cm, no signature found, in carved, gilt florentine frame

49.

50. 51.

50. Northern Italian Painter, 18th century Venus and Adonis oil, canvas, 138,5 × 68,5 cm, no signature found on the back: Ernst auctioneer label


€ 1 720

51. ITALIAN Painter, 18th century Danae oil, canvas, 91 × 112 cm, no signature found, damaged


38

€ 3 450

52. 53.

52. Roman painter, 18th century Lot and his daughters oil, canvas, 135 × 117 cm, no signature found without a frame, damaged


€ 2 760

53. after Batoni, Pompeo Girolamo (Lucca, 1708-Rome, 1787), 19th century Cleopatra presents Octavius Julius Caesar’s bust oil, canvas, 72 × 104 cm, no signature found


€ 2 760

NO EXPORT

39

Albotto, Francesco (Velence, 1721-Velence, 1757) Canal Grande at the Pescherie

One of the greatest topics among the Venetian veduta paintings is the Canal Grande, with the Adriatic Sea, the palaces and the city’s sine qua non, its main shipping lane, together with the festivals and social life. Thanks to the numerous points of views and ways of perpetuating the details, to the painters’ tendencies towards the chroniclers and to the Venetian citizens for their narcissistic love towards their city, there was a growth of demand for the vedute. The Canal Grande is presented in a wide panoramic view in southeast direction. In this section the last big loop before the Rialto can be viewed. The Fabbriche Nuove di Rialto, the commercial headquarters of the Rialto’s trade authority can be seen to the right with a market on its side that even today is a lively market in the early hours, offering a variety of fruit, Canal Grande at the Peschieri vegetables and fish. The Palazzo Michiel delle Colonne, the oil, canvas, 61 × 97 cm Palazzo Michiel dal Bursa, depicted on the left shore, was Naples, Gallerie Nazionali di Capodimonte, inv.n. 83947 burnt down in 1774. The Palazzo Mangilli-Valmarana, home of English consul, Joseph Smith (1682-1770), a passionate collector of the Venetian vedute, patron of Canaletto, who played a great role in the popularization of this genre. Everyday life is portrayed on the wharf and on the gondolas, which the bargaining gentlemen and the gondolieres as well as the merchants offering their goods participate in. Canaletto also chose to paint this section of the Grande Canal. The master’s engraving, preserved in Antonio Visentini’s version in the collection of Sir Robert Grenville Harvey presents almost the same composition, however the version in the Gemäldegalerie, Berlin illustrates the location in a wider perspective. This painting, with regard to its style and to its variant in the Museo e Gallerie Nazionali di Capodimonte in Naples, can be attributed to Francesco Albotto, a lesser-known character of Venetian veduta painting. There are barely any biographical datas remaining, his hypothetically compiled oeuvre was surrounded by obscurity Canal Grande at the Peschieri Cambridge(GB) oil, canvas, 61,9 × 96,5 cm until the appearence of his first signed work “Veduta del Fritzwilliam Museum, inv.n.19 Palazzo Ducale vista dal Mare”. The 19th-century French connoisseur P. Mariette refers to the master as “secondo Marieschi” in his Abecedario, as his vedutes are just as much thematically as stylistically similar to Michele Marieschi’s works. As it is also revealed from the documents, their relationship was not just on an intellectual level, since after the death of Marieschi (1743) Albotto married his widow and inherited his workshop as a dowry. He became very popular and even had the opportunity to work without any serious competition for almost ten years. These biographic facts suggest it is not surprising that Francsco Albotto’s oeuvre includes a few of Marieschis paintings attributed to him and even though the difference between the two hands are becoming easier to define, it is still difficult to collect Albotto’s lifework because many of his paintings remain in private collections. In this case the attribution to Albotto is suggested by the concave illustration of the perspective of the houses, the types of the colourful stain-like machiette (figures) and the sensual painting of the play of the waves. Also the identical style of his known variant is in his favour (Canal Grande… oil, canvas, 61 × 97 cm, Napol, Gallerie di Capodimonte, inv.n. 83947; Canal Grande… Cambridge (GB) oil, canvas, 61,9 × 96,5 cm, Fritzwilliam Museum, inv.n.190) Then again the cool colours, the stiffer figure are more schematic, more rigid than Marieschi. The simplified perception, the lack of architectual details and the rougher brushwork also points at Albotto’s direction. Zsuzsanna Dobos

40

54. Albotto, Francesco (Velence, 1721-Velence, 1757) Canal Grande at the Pescieri oil, canvas, 60 × 96,5 cm, no signature found Starts with: 24 000 000 HUF € 82 760 NO EXPORT

54.

41

55. 56.

55. After Rubens, Pieter Paul and anthonis van dyck , 19th century Mucius Scaevola in front of Porsenna oil, canvas, 190,5 × 157 cm, no signature found, damaged (the original piece can be found in the Museum of Fine Arts, Budapest)


€ 2 930

56. Hungarian painter, 17th century Portrait of Péter Erdődy, János Drágffy and Lónyay Zsigmond oil, canvas, 44 × 31,5 cm, no signature found, damaged


42

€ 660

43


€ 11 720

57. German painter, second half of the 19th century Harbour with sailing boats oil, canvas, 69 × 103 cm, no signature found

57.

58. 59. 60.

58. German painter, 18th century Italian landscape with resting figures oil, canvas, 59,5 × 76,5 cm, no signature found, damaged


€ 3 450

59. After Rubens, Pieter Paul, beginning of the 19th century The drunk Silenos with satyrs and nymphs oil, canvas, 60 × 76,5 cm, no signature found

Starts with: 180 000 HUF 44

€ 620

60. ITALIAN Painter, end of the 18th century Lukretia oil, cardboard, 17 × 23 cm, no signature found


€ 210

61. 62.

61. Circle of purgau, franz michael siegmund von (Linz, 1678-Vienna, 1754) Birds-pair oil, canvas, 44,5 × 37 cm, no signature found


€ 1 900

62. Austrian Painter, 18th century Landscape with pheasents oil, canvas, 56,5 × 81 cm, no signature found, damaged


€ 1 590

45

63. 64. 65. 66.

63. German painter, 18th century Saint Ignatus of Loyola with an angel oil, canvas, 105,5 × 84 cm, no signature found

64. after Dolci, Carlo, beginning of the 19th century Madonna with Jesus oil, canvas, 95 × 79 cm, no signature found



€ 760

€ 760

65. ITALIAN Painter, beginning of the 18th century Mary with baby Jesus oil, canvas, 115 × 100 cm, no signature found, damaged

66. Austrian Painter, second half of the 18th century Upbringing of Mary oil, canvas, 72 × 66 cm, no signature found, damaged



46

€ 2 760

€ 410

67. 68. 69.

67. S.E. monogram Mary with Jesus Christ and Saint John the Baptist, 1855 oil, canvas, 77 × 77,5 cm signed: S.E. post Raffael 1855


€ 1 650

68. Austrian Painter, 19th century Mary tempera, ivory, 8 × 7 cm, no signature found, damaged

69. ITALIAN Painter, 18th century Mary oil, canvas, 41,5 × 34,5 cm, no signature found, damaged



€ 280

€ 280

47

70.

70. German painter, 18th century The four Evangelist oil, canvas, 65,5 × 52 cm, no signature found


48

€ 1 100

71. 72. 73. 74.

71. Central european painter, 18th century Saint Martin and the beggar oil, canvas, 178 × 78,5 cm, no signature found

72. ITALIAN Painter, 17th century Monk Dominican hands out alms oil, canvas, 98 × 73,5 cm, no signature found, damaged



€ 1 100

€ 970

73. Polish painter, 18th century Mary with Jesus oil, wood, 42 × 32 cm, no signature found

74. Austrian Painter, mid 19th century Mary oil, canvas, 97 × 69 cm, no signature found



€ 59

€ 900

49

75. 76. 77. 78.

75. German painter, second half of the 19th century Copy of Mary of Passau oil, canvas, 68,5 × 55 cm, no signature found, damaged

76. German painter, first half of the 19th century Prophet Elijah oil, canvas, 78 × 62 cm, no signature found



€ 340

€ 620

77. Austrian Painter, first half of the 19th century Christ on the Mount of olives oil, canvas, 61 × 76,5 cm, no signature found, without a frame, damaged

78. after Cignaroli, Gianbettino (Verona 1706 – 1770), beginning of the 19th century Anna leaves Samuel with the priest Eli oil, canvas, 72,5 × 102 cm, no signature found, damaged, without a frame



50

€ 410

€ 1 520

79. 80. 81.

79. French painter, circa 1800 Portrait of IX. Saint Louis, king of France oil, canvas, 127 × 90 cm, no signature found „Facite judicium et justitiam et diligite pauperes” sign


€ 1 380

80. Austrian Painter, second half of the 19th century Portrait of a young Lady oil, canvas, 76 × 62,5 cm, no signature found


€ 480

81. Austrian or German painter, second half of the 19th century Mother with child oil, canvas, 63 × 47,5 cm, no signature found


€ 970 51

Schmidt (Kremser Schmidt) Martin Johann (Grafenwörth, 1718 – Stein an der Donau, 1801) The ember blowing young boy , 1775

My first chance to get to know this painting was in 2002. Then I attributed it to a German painter from about 1700. No further definition could be rendered due to the given conditions of the painting back then. With the restoration of the picture in 2004, a more precise definition could be provided.1 Underneath the second canvas that was taken off of the back, revealed the authentic date and signature of the painter. On the lower right on the back Martin Johann Schmidt’s signature was detected along with the date 1775. Besides F. A. Maulbertsch, the master - also known as Kremser-Schmidt - was the most outstanding Baroque painter of the 18th century in Central Europe. The deeply religious painter spent most of his life in the Austrian Krems, his costumers were mostly Roman Catholic monks and leaders of religious orders. Therefore Kremser-Schmidt painted only a few secular-themed pictures and if so, they were made for the collections of religious orders mainly in the 1770’s and 1780’s.2 The painting’s canvas is rustic, cut on all sides. The original composition of the painting must have been about 40 cm wider to the upper left. The restored version clearly unfolds that behind the boy holding an ember in his right and a candle in his left hand, details of a man emerge. Behind the boy’s shoulder, the man’s hand rests on a cylindrical object (maybe a pot).To the upper left side the figure’s neck and face can also be detected, namely this composition must have had several figures in it. The close stylictic study of the painting confirmed the authenticity of the singature and date. The graphic style matches Kremser-Schmidt’s methods that he used in the 1770’s, that is the surface of the painting, the composition and the use of certain colours are all his characterstics. There is a similar painting by Kremser-Schmidt that was painted before 1778. Koloman Felner made an etching of that small painting in 1778, bearing the title L’Attention (oil on wood, presents two girls sitting at a table, playing with a monkey 25 x 38 cm, in a Viennese private collection).3 Based on the artificial lighting this painting is clearly the one that most resembles his style.. The iconographic tradition of the ember blowing boy became popular, after Plinius, El Greco, Trophime Bigot and the Caravaggio-followers of Utrecht (Lievens, Honthorst, Ter Brugghen, Stomer), and was kept alive thanks to Gottfried Schalcken in the 18th century.4 Schalken’s composition with a similar theme (The ember blowing young boy, 1792-98 k. 75 x 63,5 cm, National Galleries Scotland, Edinburgh NG.2495) might have served as a prefiguration for Kremser Schmidt. No information is provided about whether a copy of this painting - that now is in the Spencer collection in Althorp - existed, through which Schmidt could have seen. It is a well-known fact that Schmidt has never been in England, thus the similarity of the two paintings must be but a coincidence. Kremser Schmidt’s 1770’s and 1780’s works are charecterized by artificial lighting, which is partially spiritual and partially ordinary (Dinner at Emmaus, Seitenstetten, Gallery of the Benedictine church). The emotional Baroque style was used to convey the graphic problem of lights and shadows characterizing the Ember blower boy’s composition. The curiosity of the painting is brought about due to its exquisite iconography and because there is only one work by Kremser-Schmidt in Hungary to the best of our knowledge.

Gotfried Schalcken: Ember blowing Boy, 1792-98 National Galleries Scotland, Edinburgh

László Lengyel

Martin Johann Kremser Schmidt: Dinner at, Seitenstetten, Gallery of Benedictine monastery 1 The Museum of Fine Arts, Budapest, Criticism Nr: 2004/131. The painting was restored by Judit Bendel in 2004. 2 Rupert Fruchtmüller: Das Kremser Schmidt 1718-1801, Vienna, Innsbruck 1989. 3 1000 Jahre Kunst in Krems Aust. Kat. Krems, 1971, pp.247-248. no.225. 4 Plinius: Historia Naturalis, XXXIV. 79. „XXXV. 138.

52

82.

82. Schmidt (Kremser Schmidt) Martin Johann (Grafenwörth, 1718 – Stein an der Donau, 1801) Ember blowing young boy, 1775 oil, canvas, 81 × 59,5 cm, signed: M.J.Schmidt Aº 1775, expertise of art historian Lengyel László


€ 15 170

53

83.

83. Austrian Painter, first half of the 19th century Romantic landscape oil, canvas, 55 × 76 cm, signed: Salvator Rosa


€ 830

Guérard, Bernhard von (Düsseldorf, 1771 - Naples, 1836) Psyche, 1811

Bernhard von Guérard was born in Düsseldorf, son of a doctor, he first studied law, which he later gave up to become a painter. He primarily painted portraits. He received an invitation to London in 1793.He drew portraits for a short period of time, until he had the opportunity to travel to Vienna with the prince Carl Auersperg in the same year. Thanks to his well-known patron, the court’s aristocracy provided him with numerous assignments, allowing him gain fame within a short period of time with his portrait-miniatures. He worked for the prince of Schwarzenberg between 1817 and 1819. During his stay he painted portraits of nearly the whole family. At the same time he experimented with the chemical production of paint and even traded with these. He painted portraits of Emperor Francis and other family members, such as Mary Louise, Mary Ludovica and Mary Clementine usually on ivory plates with water-colour technique, combined with paint used for covering. His style is similar to Füger’s classical conception and Daffinger’s portraits with a Biedermeier taste. Guérard spent his last years travelling. In 1827 he travelled to Venice and in 1831 went to Rome. Five years later he moved to Naples and died of cholera. The painting at the auction is somewhat unusual in the miniature portraitist, Guérard’s oeuvre. The portrait of this extraordinarily large composition is most likely a hidden portrait. The unknown aristocratic, young woman is presented as Psyche sitting next to a stream. Lucius Apuleius, who lived in the second century, was the writer of the story, called The Golden Ass, according to which the amazing beauty of the mortal princess made the goddess Venus jealous. Thus Venus trusted his son, Amor to hurt Psyche so to make her fall in love with the first worthBaron François Gérard: less creature she comes across. However, it happened that Amor and Psyche fell in love. The Ámor első csókja (1798) long-winded and subtle love story has a happy ending and with the approval of the gods the lovers can eventually unite. The story of Amor and Psyche was principally one of the beloved themes of the French Neoclassicistic painting. Baron F.P.S. Gérard’s (1770-1837) composition, bearing the title Amor’s first kiss had become one of the greatest sensations of the Parisian Salon that later on had a great impact on the adaptations. It is possible that the present piece was also inspired by that painting (see also the photo). The painting in Budapest portrayed Psyche in front of a landscape on a stream bank with butterfly wings (Psyche, amongst the several meanings of the Greek name, is butterfly). According to one of the sidelines of the story, to fulfill Apollo’s command, Psyche’s parents took her to a mountaintop so that she could meet her sad fate and get married to a horrible monster, Zephyr. The West wind snatched the wonderful girl from the mountaintop and took her to an amazing grove along a stream. The grove was surrounded by trees with a crystal-clear stream in the centre of it. Psyche, who then recovered from her dream, soon found a palace as well, where she soon got married to Amor, whose face she could never see. She could only hear his voice, until the council of the gods pitied them and Psyche could finally get to know her husband’s face. The figure of Psyche daydreaming on the streambank can be viewed, whose slim, girlish body is only covered at the thighs by a blue drapery. This fragile, slim type of figure often recurs in Guérard’s portraits and reveals the impact of the French Neoclassicistic portrait painting but first and foremost the impact of Jean Baptist Augustin. The best works of Guérard, who often signed his paintings in French, are exactly those full body lady portraits, on which the illustrated model appears in front of a background. These canvas paintings however, are small, only a few inches. The Viennese Dorotheum auctioned a small composition illustrating a sacred family in 2009. The theme of that painting was rather unusual for Guérards’s miniatures. The work of art in Budapest is both due to its size and its character of a hidden portrait a unique piece in his oeuvre, moreover thanks to its excellent graphic quality, it becomes indubitably Dr. Zoltán Kovács and inevitably one of the masterpieces. Literature: H.W.Singer: Neuer Bildniskatalog Bd. V., Leipzig 1938, 281-82. H. Fuchs: Die österreichische Bildnisminiatur, Bd. 1., Wien 1981, 77-78. Saur Allgemeines Künstler-Lexikon, Bd. 64, München – Leipzig 2009, 425-26.

54

84.

84. Guérard, Bernhard von (Düsseldorf, 1780-Naples, 1836) Psyché, 1811 oil, canvas, 127 × 94 cm, signed: B. de Guérard 1811


€ 6 210

55

85. 86. 87.

85. Wagner signature Portrait of a lady, 1799 pastel, paper, 63 × 47 cm, signed: Wagner 1799


€ 1 100

86. Austrian Painter, mid 19th century Portrait of a young Lady pastel, cardboard, 67 × 55 cm, no signature found

87. Lukáts, Sámuel (Pécel, 1767-Losonc, 1789) Portrait of Jan Kupeczky, 1787 indian ink wash, paper, 350 × 260 mm, signed: Sam Lukats pinx 1787



56

€ 480

€ 280

88. 89. 90.

88. Barabás Miklós (Kézdimárkosfalva, 1810-Budapest, 1898) Portrait of a gentlewoman, 1851 water-colour, opaque white, paper, 380 × 290 mm signed: Barabás 851


€ 2 070

89. Austrian Painter, mid 19th century Portrait of a young boy with a horse tempera, ivory, 55 × 42 mm, sign not clear


€ 130

90. Berger signature, mid 19th century Portrait of a gentlewoman water-colour, paper, 225 × 170 mm, signed: Berger


€ 280

57

91. 92.

91. Kern, Herman (Lipótújvár, 1839 – Maria-Enzersdorf bei Wien, 1912) Philantrophy, 1878 oil, canvas, 72 × 58 cm signed: Kern Ármin 1878

Starts with: 320 000 HUF € 1 100

92. Ibres Alters signature Portraits of Donát Szakmáry and Judit Szakmáry, 1728 oil, canvas, 91,5 × 68 cm signed: Ibres Alters; label: latin title and family crest


58

€ 1 660

93. 94. 95.

93. ITALIAN Painter first half of the 18th century Aristocratic lady witha parrot oil, canvas, 125 × 101 cm, no signature found

Starts with: 1 300 000 HUF € 4 480

94. after Vigée-Lebrun, Elisabeth (Párizs, 1755-Párizs, 1842), end of the 19th century Selfportrait oil, canvas, 62 × 49 cm, no signature found, upper left: Virginia Lebrun pit. (the original painting is in the roman Saint Lukas picture gallery)

95. after Reni, Guido (Calvenzano, 1575 – Bologna, 1642), end of the 19th century Portrait of Beatrice Cenci oil, canvas, 62 × 49 cm, no signature found



€ 480

€ 480

59

96. 97.

96. Barabás Miklós (Kézdimárkosfalva, 1810-Budapest, 1898) Piufsich Lajos, 1892 oil, canvas, 140 × 90 cm, signed: Barabás M. 1892


€ 2 240

97. Kosarek, Adolf (Prága, 1830-1859) Portrait of a couple, 1843 oil, canvas, 82 × 68,5 cm signed: Kosarek 843 frame from the 19th century


60

€ 900

98. 99.

98. Barabás Miklós (Kézdimárkosfalva, 1810-Bp., 1898) Portrait of a gentleman, 1844 oil, canvas, 105,5 × 83 cm signed: Barabás Miklós 1844, damaged


€ 5 170

99. A.O. monogram Portrait of an aristocratic couple, 1839 oil, wood, 72 × 59 cm, signed: AO 1839


€ 760

61

100. 101.

100. Hermann, Ludwig (Greifswald, 1812-Berlin, 1881) View of Rotterdam, 1857 oil, canvas, 67 × 96 cm, signed: Ludwig Hermann


€ 3 280

101. French painter circa 1800 On the stormy sea oil, wood, 28 × 37 cm, signed: J. V. 1783 (later), damaged


62

€ 830

102. 103.

102. Vernier, Emile Louis (Lons-le-Saunier, 1829-Párizs 1887) Harbour at night, 1884 oil, canvas, 90 × 140 cm, signed: L. Vernier Paris 1884


€ 3 280

103. After Vernet, Claude joseph, circa 1800 Shipwreck oil, canvas, 60,5 × 83 cm, no signature found


€ 1 450

63

104.

104. Telepy Károly (Debrecen, 1828 – Budapest, 1906) Landscape with ruins, 1900’s Oil, canvas, 45 × 60 cm, signed: Telepy K. Starts with: 850 000 HUF € 2 930

Telepy Károly (1828-1906) is one of the most popular Hungarian Late-Romantic landscape painters. He had been an acknowledged painter from 1850’s on, but due to his office work, he could not paint for a long time. He painted most of his pictures after the 1880’s. The catalogue of his known works, published by Katalin Telepy in 1968, only contained works discovered at the time of publication. Telepy’s oeuvre is much bigger, however, as the stock of Műcsarnok in 1906 already featured 521 works of the artist. Unfortunately, the catalogue of the exhibtion did not publish the date and size of the paintings, thus certain paintings can only be identified based on their title. Telepy painted mostly concrete places, thus his paintings and motifs can easily be defined with sufficient topographical knowledge. The locations most frequently presented were Northern Hungary, parts of Slovakia, Transylvania and the Alpine landscapes. In addition, he painted a series of pictures in the region of Budapest, which serve as a picturesque documentation of the fast expanding city. The characteristics of the painting are the shunning of strong colour contrasts, the slightly greyish tones of the colours, the classical structure of the composition, that is the separation of the different spaces, namely the background – centre - foreground. Interesting is however that the painting is symmetrically divided into two by a tree in the middle of the painting. Another example with the same idea can be viewed in the painting depicting the castle of Nagyorosz in 1903, which likewise divides the composition into two, with the slight difference that a castle is in the middle serving as a vertical centre axis (painting Nr. 1.). It is typical of Telepy’s landscapes that there is a building in the middle of the composition, or at least in a distinguished place. He painted Hungarian castles, as well as popular royal summer houses, resorts and spas. The location could not be identified this time, based on the characteristics of the painting, it could be either Hungary or Austria. The catalogue of Telepy bequest’s exhibition in 1906 refers to numerous titles with a rocky landscape that might as well be identified with this present painting. The processing of Károly Telepy’s oeuvre does not seem to be an easytask due to the several compositions of similar themes; this latter one being the reason for the impossibility of the identification also in this case . Based on the quality, the theme, the painting technique, the colours and the signature of the painting, it fits perfectly into Telepy’s oeuvre and originates from the painter’s most prolific period, circa 1900. Dr. Gábor Bellák, art historian The main sources on Károly Telepy (1828-1906): Katalin Telepy: Károly Telepy, a Hungarian romantic landscape painter: ln: the Year Book of Déri Museum of Debrecen, 1966-67. Debrecen, 1968. pp. 545-613 Katalin Telepy: Károly Telepy. Budapest, Corvina, 1980 Art in Hungary, 1830-1870. Exhibiton Catalogue. Budapest, MNG 1981. Lot Nr. 458

64

65


€ 7 590

105. Ligeti Antal (Nagykároly, 1823-Budapest, 1890) „Nazareth”, 1862 oil, canvas, 53 × 77 cm, signed: Ligeti A. 1862; sign on the back: „Nazareth 1857 term. u. felv. 1862 fest Ligeti Antal"

105.

106. 107. 108.

106. Garcin, Th. signature, end of the 19th century Fishermen on the seashore oil, canvas, 73,5 × 100 cm, signed: Th. Garcin


€ 2 760

107. Gauermann, Friedrich after, 19th century Alpine smithy oil, canvas, 68,5 × 87 cm, no signature found

108. after Gauermann, Friedrich, second half of the 19th century Resting animals oil, canvas, 53 × 67 cm, no signature found, SZM 261/87, damaged



66

€ 410

€ 620

109. 110.

109. Askevold, Anders Monsen (1834-1900) Spring at the fjord 1893 oil, canvas, 55,5 × 90 cm, signed: A. Askevold 1893, frame damaged


€ 2 760

110. Mailer, F. signature circa 1900 Fjord oil, canvas, 68 × 105 cm signed: F. Mailer


€ 1 100

67

111. 112.

111. Kaufmann, karl (Neuplachowitz, 1843 – Vienna, 1901) Sicilian landscape, 1897 oil, wood, 47 × 30,5 cm signed: Karl Kaufmann 1897

Starts with: 380 000 HUF 1 310

€

112. Wagner, Hans Johann (Döbling, 1866-Perchtoldsdorf, 1940) View of a harbour oil, canvas, 86,5 × 106 cm, signed: H. Wagner


68

€ 1 170


€ 11 720

113. Kaufmann, Karl (Neuplachonitz, 1843-Vienna, 1901) View of Venice with the Palazzo Ducale and the Santa Maria della Salute oil, canvas, 96 × 143 cm, signed: Karl Kaufmann

113.

69

114. 115. 116. 117.

114. Steinacker, Alfred (Sopron, 1838-1914) Horse-drawn cart oil, wood, 15,5 × 31,5 cm signed: A. Steinacker, damaged


€ 480

115. Mészöly Géza (Sárbogárd, 1844-Jobbágyi, 1887) Blossoming branch, 1877 oil, cardboard, 13,5 × 10,5 cm signed: junius 14 ... 15, 877, MNG 94/1965


€ 210

116. Ranftl, Mathias (Vienna, 1805-Vienna, 1854) A pet, 1830 oil, canvas, 35 × 31,5 cm, signed: Ranftl 830

117. Bassi, E. signature, end of the 19th century The prey oil, canvas, 48,5 × 32,5 cm, signed: E. Bassi, damaged



70

€ 620

€ 280

118. 119. 120.

118. Le Roy, Jules (1856 – 1921) Cat with puppies, 1918 oil, canvas, 55 × 46 cm signed: J. Le Roy 1918


€ 1 900

119. Austrian Painter, second half of the 19th century Horse feeding oil, canvas, 68 × 54,5 cm, no signature found, damaged

120. Austrian Painter, second half of the 19th century Boy with a dog oil, canvas, 68 × 55 cm, no signature found



€ 480

€ 480 71

121. 122.

121. Székely Bertalan (Kolozsvár, 1835-Mátyásföld, 1910) Female portrait, circa 1880 oil, canvas, 58 × 48 cm, no signature found BÁV 53/249

Starts with: 1 100 000 HUF 3 790

€

122. Hungarian painter mid 19th century Portrait of Hölczel György and Prittner Karolina oil, canvas, 63 × 53 cm, no signature found, damaged


72

€

123.

123. Benczúr Gyula (Nyíregyháza, 1844-Dolány, 1920) Portrait of an elegant lady oil, canvas, 140 × 92 cm, signed: Benczúr


€ 7 590

73

124. 125. 126. 127.

124. Madarász Viktor (Csetnek, 1830 – Bp., 1917) Portrait of George Washington oil, canvas, 70 × 55 cm, signed: M.V. (ligatúrás) sign: G. Washington

125. Hungarian painter, circa 1850 Portrait of a young gentleman oil, canvas, 44,5 × 37 cm, no signature found label on the back: Schukl Pepi pianist, damaged



€ 410

126. Hungarian painter, end of the 19th century Portrait of a bearded young man oil, canvas, 51 × 40,5 cm, no signature found, damaged


74

€ 280

€ 280

127. Austrian Painter, first half of the 19th century Portrait of a youngster oil, canvas, 50,5 × 41,5 cm, no signature found, without a frame, damaged


€ 310

128. 129. 130.

128. German painter, second half of the 19th century Albrecht von Wallenstein with a astrologist oil, canvas, 79 × 95 cm, no signature found, damaged


€ 2 070

129. Barabás Miklós (Kézdimárkosfalva, 1810 – Bp., 1898) Portrait of a young Lady, 1877 oil, canvas, 74 × 60,5 cm, signed: Barabás M. 877

130. Barabás Miklós (Kézdimárkosfalva, 1810 – Bp., 1898) Portrait of a gentleman, 1863 oil, canvas, 64 × 50 cm, signed: Barabás 863



€ 2 070

€ 1 170

75

131. 132. 133.

131. Éder Gyula (Kassa, 1875-Budapest, 1945) Leda and the swan, 1924 oil, canvas, 90 × 130 cm, signed: Éder Gyula 1924


€ 2 070

132. Faragó signature, circa 1900 Harem woman oil, canvas, 80 × 60 cm, signed: Faragó

133. Maury, Francois (Marseilles, 1861-Marseilles, 1933) Oriental beauty, 1908 oil, canvas, 130 × 97 cm, signed: Maury 1908



76

€ 210

€ 1 660

134. 135.

134. Kovács Ferenc (worked in the mid 19th century, in and neighbouring Eger) Slave market, 1846 oil, canvas, 64 × 81 cm, signed: Kovács Ferenc Egerben 1846


€ 1 100

135. Rottmann Mozart (Ungvár, 1874-1950/60) Scene oil, canvas, 80 × 100 cm, signed: Rottmann M.


€ 970

77

136. 137. 138. 139.

136. Vastagh György, the Elder (Szeged, 1834-Budapest, 1922) Lady in hat oil, canvas, 30 × 18 cm, signed: Vastagh Gy.

137. Zemplényi Tivadar (Eperjes, 1864 – Bp., 1917) Girl with a headkerchief oil, canvas on cardboard, 32,5 × 22,5 cm signed: Zemplényi Tivadar



€ 380

€ 330

138. Burchard Bélaváry István (Mád, 1864-1933) On a bonfire pastel, paper, 99,5 × 69 cm, signed: Bélaváry I.

139. Gremsperger Ernő (Zsámbék, 1885-?) Nude water-colour, paper, 695 × 495 mm signed: Gremsperger Ernő



78

€ 330

€ 280

140. 141. 142. 143.

140. Rottmann Mozart (Ungvár, 1874-1950/60) Young lady with a mandolin oil, canvas, 80 × 60 cm, signed: Rottmann M.

141. Szenes Philipp (Törökszentmiklós, 1863-Bp., 1944) Girl in a hat with flowers, 1902 oil, wood, 89,5 × 75,5 cm, signed: Szenes 902



€ 550

€ 620

142. Borúth Andor (Sátoraljaújhely, 1873-Tátraszéplak, 1956) Resting girl, 1897 oil, canvas, 82 × 64 cm, signed: Borúth A. Paris 97

143. Éder Gyula (Kassa, 1875-Budapest, 1945) Girl with a coral necklace oil, cardboard, 47,5 × 38 cm, signed: Éder Gy.



€ 760

€ 310

79

144. 145. 146. 147.

144. Austrian Painter second half of the 19th century Still life with flowers oil, canvas, 42 × 32 cm, signed: illegible

145. Szkicsák Klinovszky István (Pest, 1820-Bp., 1880 körül) after Barabás miklós On the way to the market oil, canvas, 95 × 68 cm, signed: Szkitsák



€ 1 100

146. Lakos Alfréd (Székesfehérvár, 1870-Bp., 1961) Still life with a violin, 1937 oil, canvas, 70 × 100,5 cm, signed: Lakos Alfréd 1937, damaged


80

€ 380

€ 1 100

147. Austrian Painter, 19th century Still life with flowers in a vase oil, canvas, 87 × 71 cm, no signature found, damaged


€ 760


€ 4 480

148. Polish painter, circa 1870 Horse market in Nowy Targ oil, canvas, 97,5 × 153 cm, no signature found

148.

81

149. 150.

149. K. Spányi Béla (Pest, 1852-Budapest, 1914) Lamb pastor oil, canvas, 67 × 120 cm, signed: K. Spányi B.


€ 1 310

150. Ujházy Ferenc (Szolnok, 1827-Budapest, 1921) Landscape with the lake Balaton, 1860 oil, canvas, 45 × 55,5 cm, signed: Ujházy Ferenc 860


82

€ 760

151. 152. 153.

151. Mészöly Géza (Sárbogárd, 1844-Jobbágyi, 1887) Town oil, wood, 16 × 31 cm, signed: M.G.


€ 1900

152. Plammer signature Landscape with the Rhine, 1855 oil, canvas, 59,5 × 79,5 cm, signed: ...Plammer 1855, damaged, without a frame


€ 900

153. Gobell Smith signature, beginning of the 20th century Snowy mountains oil, canvas, 41 × 51 cm, signed: Gobell Smith


€ 970

83

154. 155.

154. Karvaly Mór (Ungvár, 160-Merán, 1899) Brides and cavalrymen oil, canvas, 133 × 191 cm, signed: Karvaly Mór, damaged


€ 2 070

155. Bruck Lajos (Pápa, 1846-Budapest, 1910) Kitchen scene oil, canvas, 64,5 × 91 cm, no signature found on the back: Bruck Lajos inheritance label and exhibtion label, 1911

Starts with: 480 000 HUF € 1 660

84


€ 11 720

156. Cserépy Árpád (Sátoraljaújhely, 1859-Budapest, 1907) Kitchen genre, 1887 oil, canvas, 80 × 130 cm, signed: Cserépy Á. 887

156.

85

157. 158. 159. 160.

157. Szüle Péter (Nagyvárad, 1886-Bp., 1944) Dirnking young man oil, canvas, 78 × 58 cm, signed: Szüle

158. Bencze signature Horse thief, 1925 oil, canvas, 148 × 113 cm, signed: Bencze 925, damaged



€ 280

€ 620

159. Bruck Lajos (Pápa, 1846-Budapest, 1910) Dinner making oil, canvas, 75 × 100 cm, no signature found, on the back: Bruck Lajos inheritance label and exhibtion label, 1911

160. Prohászka István (Somorja, 1897-?) Idyll of a family oil, canvas, 55 × 70 cm signed: Prohászka, damaged



86

€ 1 030

€ 330

161. 162.

161. Hungarian painter, second half of the 19th century In a pub oil, canvas, 29 × 43,5 cm, no signature found


€ 1 310

162. Greguss János (Pozsony, 1837-Budapest, 1892) In the kitchen oil, canvas, 33 × 50 cm, signed: G. J. back: „festette Greguss János Somogy megyében 1860”


€ 760

87

163. 164. 165. 166.

163. Paini, A. signature, (worked at the end of the 19th century ) Conversation of the monks water-colour, paper, 530 × 360 mm, signed: A. Paini

164. Fekete M. signature, beginning of the 20th century Portait of a young man oil, canvas on cardboard, 49 × 35 cm, signed: Fekete M., damaged



€ 410

€ 210

165. Edvi-Illés Aladár (Pest, 1870-Budapest, 1958) „Holt-Kőrös Szarvason” oil, cardboard, 18 × 23 cm, signed: E. Illés A., back: gift certificate

166. Kássa Gábor (Sátoraljaújhely, 1893-Bp., 1961) Court, 1930 oil, canvas, 50 × 60 cm, signed: Kássa Gábor 1930



88

€ 280

€ 240

167. 168.

167. Ruben, Franz Leo (Prága, 1842-München, 1920) Mediterrean street oil, wood, 25 × 41 cm, signed: F. Ruben


€ 830

168. Berkes Antal (Budapest, 1874-Budapest, 1938) Hillside with houses oil, canvas, 48 × 68,5 cm, signed: Berkes


€ 480

89

169. 170. 171. 172.

169. Vígh Bertalan (Rimaszombat, 1890-Bp., 1946) Halhodzsa oil, canvas on cardboard, 49 × 39 cm signed: Vígh Bertalan; lower left: Halhodzsa


€ 830

170. Feszty Árpád (Ógyalla, 1856-Lovrana, 1914) Selfportrait oil, cardboard, 48 × 33,5 cm, signed: Feszty Árpád


€ 310

171. Beregi S. signature, beginning of the 20th century Fiddler oil, canvas, 105 × 83 cm, signed: Beregi S.

172. Perlmutter Izsák (Pest, 1866-Bp., 1932) Hunter with his dog oil, cardboard, 27 × 20,5 cm, signed: Perlmutter



90

€ 310

€ 410

173. 174.

173. Rottmann Mozart (Ungvár, 1874-1950/60) Courtship oil, canvas, 130 × 100 cm signed: Rottmann M.


€ 970

174. Friedländer, Alfred (Vienna, 1860-1901/27) Landscape with figures oil, wood, 20,5 × 31,5 cm, signed: Friedlander


€ 830

91

175. 176. 177.

175. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Landscape of Alföld water-colour, pencil, paper, 200 × 250 mm, signed: Mednyánszky and inheritance sign


€ 830

176. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) „Angyalföld” graphite, paper, 245 × 390 mm signed: Mednyánszky Angelföld and inheritance stamp

177. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) House among trees graphite, paper, 285 × 390 mm signed: Mednyánszky Beczkó and inheritance stamp



92

€ 240

€ 280


€ 12 410

178. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Looming lights oil, canvas, 65 × 100 cm, signed: Mednyánszky; on the back Almássy Teleki Éva auctioneer stamp

178.

93

179. 180. 181. 182. 183.

179. Hollósy Simon (Máramarossziget, 1857-Técső, 1918) Dehusking-study pencil, paper, 235 × 245 mm, signed: Hollósy S. München


180. Hungarian painter, end of the 19th century Man with a pipe oil, cardboard, 28 × 19 cm, no signature found, MNG 2313/980

€ 550


181. Lotz Károly (Homburg vor der Höhe, 1833-Bp., 1904) Amor pencil, paper, 185 × 130 mm, signed: Lotz Károly; signed: „Lotzné ajándéka Lotz eredeti” "...original Lotz"

182. Kelety Gusztáv (Pozsony, 1834-Budapest, 1902) Painter pencil, paper, 180 × 105 mm, no signature found lower left: inheritance stamp



94

€ 310

€ 210

€ 280

183. Vágó Sándor (Mezőlaborc, 1887-USA, 1946) Family scene pencil, coal, paper, 700 × 500 mm signed: Vágó


€ 280

184. 185. 186. 187.

184. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Man in a hat pencil, clack ink, paper, 265 × 210 mm signed: Mednyánszky; lower left inheritance stamp

185. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Armresting soldier graphite, paper, 220 × 230 mm, no signature found, on the back record of Pálmai József and inheritance stamp



€ 280

€ 210

186. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Studies pencil, clack ink, paper, 320 × 445 mm, no signature found, upper left: inheritance stamp

187. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Armresting man graphite, paper, 310 × 425 mm, signed: Mednyánszky and inheritance stamp



€ 310

€ 240 95

188. 189. 190.

188. Vaszary János (Kaposvár, 1867-Budapest, 1939) Nude boy oil, canvas, 82 × 55 cm, no signature found on the back: certificate from the widow of the painter: „ez a kép férjem műve. özv Vaszary Jánosné”/"This painting is my husband's work. widow Vaszary Jánosné"


189. Székely Bertalan (Kolozsvár, 1835-Mátyásföld, 1910) Portrait of a man pencil, paper, 170 × 150 mm, no signature found, lower left inheritance stamp 1911


€ 210

€ 2 070

190. Mednyánszky László baron (Beckó, 1852-Vienna, 1919) Boy graphite, paper, 315 × 435 mm, signed: Mednyánszky.....


€ 260

191. 192. 193.

191. Réti István (Nagybánya, 1872-Bp., 1945) „Mese a nagy csizmáról és a kiscipőről”, 1896-97 – illustration for the poem of József Kiss oil, canvas on cardboard, 76 × 51,5 cm, signed: Réti Reproduced: Aradi Nóra: Réti István, Képzőművészeti Alap Kiadóvállalata, Budapest, 1960, page 68., picture 38.


€ 1 100

192. Neogrády Antal (Galsa, 1861-Alag, 1942) Blossoming fruit trees water-colour, opaque white, cardboard, 265 × 455 mm, signed: Neogrády A.

193. Neogrády Antal (Galsa, 1861-Alag, 1942) Blossoming lilac water-colour, opaque white, cardboard, 285 × 465 mm, signed: Neogrády A.



€ 240

€ 210 97

194. 195. 196. 197.

194. Háry Gyula (Zalaegerszeg, 1864-Budapest, 1946) Stream Tar, 1903 oil, wood, 18,5 × 14,5 cm, signed: Tarpatak 1903 Háry Gy.


€ 210

195. Háry Gyula (Zalaegerszeg, 1864-Budapest, 1946) Tátrafüred, 1903 oil, wood, 18,5 × 14,5 cm, signed: Tátrafüred 1903 Háry Gy.


€ 210

196. Kübler, Ludwig (worked 1850-1860 körül) Horses oil, canvas, 23,5 × 33,5 cm, signed: L. K.

197. Kézdi Kovács László (Pusztaalsócikola, 1864-Bp., 1942) Forest in autumn oil, canvas, 60 × 80 cm, signed: Kézdi Kovács



98

€ 410

€ 210

198. 199. 200.

198. Neogrády Antal (Galsa, 1861-Alag, 1942) At the blossoming apple tree oil, canvas, 64 × 119 cm, signed: Neogrády A.


€ 1 660

199. Rechert, J. signature, circa 1900 Courtship oil, canvas, 47 × 60,5 cm, signed: J. Rechert

200. Illencz Lipót (Újvárad, 1882-Arad, 1950) Sicilian girl oil, canvas, 60 × 80 cm, signed: Illencz L.



€ 620

€ 330

99

201. 202. 203. 204.

201. Tahi Antal (Pest, 1855-Budapest, 1902) Mediterrean street water-colour, paper, 290 × 210 mm, signed: Tahi A.


€ 240

202. Bruck Lajos (Pápa, 1846-Budapest, 1910) Interior oil, wood, 40 × 31,5 cm, no signature found on the back Bruck Lajos inheritance label and exhibtion label, 1911


€ 830

203. Margitay Tihamér (Jenke, 1859-Budapest, 1922) Grandfather telling a story oil, cardboard, 40 × 50 cm, signed: Margitay

204. Berkes Antal (Budapest, 1874-Budapest, 1938) Cloudy street oil, canvas, 80 × 100 cm, signed: Berkes A., damaged



100

€ 330

€ 760

205. 206. 207. 208.

205. Austrian Painter, circa 1900 Landscape at the shore oil, canvas, 58,5 × 33 cm, no signature found

206. Nagy Vilmos (Budapest, 1874-Budapest, 1953) Mother and child oil, canvas, 50 × 40,5 cm, signed: Nagy Vilmos



€ 280

€ 380

207. Neogrády Antal (Galsa, 1861-Alag, 1942) Belvedere water-colour, opaque white, cardboard, 320 × 450 mm, signed: Neogrády A.

208. Neogrády Antal (Galsa, 1861-Alag, 1942) Rest at the shore water-colour, opaque white, cardboard, 320 × 450 mm, signed: Neogrády A.



€ 310

€ 310

101

209. 210. 211. 212.

209. Austrian sculptor end of the 19th century Allegorical woman bronze, m: 46 cm, signed on the foot: S. O. (partly)


€ 1 170

210. Pray signature second half of the 19th century Dionysos bronze, m: 42 cm, signed: Pray


€ 660

211. Rónai signature beginning of the 20th century Discus thrower bronze, m: 32 cm, signed on the foot: Ronai


€ 280

212. Austrian sculptor circa 1920 Allegory of triumph bronze, m: 36,5 cm, no signature found


102

€ 200

213. 214.

213. Clodion, Claude Michel (Nancy, 1738-Paris, 1814) Celebration of Bacchus, 1762 bronze, m: 58 cm, sign on the back: C. Clodion, 1762


€ 4 140

214. Aichele, Paul (Markdorf, 1859-1910, Berlin) Diana bronze, on marble foot, m: 132,5 cm, signed on the back of the foot: Aichele


€ 5 860

103

215.

215. Telcs Ede (Baja, 1872-Budapest, 1948) Portrait of Beethoven, 1920 marble, on originial marble foot, m.: 54 cm, postament m.: 146,5 cm, signed: Telcs, Provenance: from the collection of baron Kohner Adolf


104

€ 3 270

Telcs Ede studied from 1888 at the Vienna Academy taught by Edmund von Hellmer. He continued his studies at the best Viennese sculptor’s school, Gaspar Clemens von Zumbusch, where he was awarded top prize for his work, bearing the title ”Two Bornemissza”. He settled down in Budapest in 1895, where he participated in many sculptor competitions and won many awards. His earlier works were mainly small-sized genre sculptures, inspired by the folklife. He also participated in the decoration of great public buildings (Music Academy, Gresham Palace). From his monumental works, the Vörösmarty memorial and the two king sculptures (Saint Laszlo and Charles III) belonging to the Millenium Memorial are worthy of note. He gained his fame primarily through his fine plaquettes – he played an important role in the creation of the Hungarian coin-art – and his sensitive portraits, characterizing the model’s soul. (Sculpture of Ignác Alpár, Kossuth memorial of Kecskemét). Baron Adolf Kohner bought the bust of Beethoven from Ede Telcs carried out in 1920. Compared to the former mentioned, meticulously elaborated works, following the French „fine naturalism”, this portrait is much more synoptical and slightly more superficial so to fit the era’s sculptural demand. Baron Adolf Kohner’s kept his collection (1866–1937) of European ranking, which he raised with an extraordinary consistence and passion. His collection constituted principally works of Impressionist painters in his palace of Secessionist style in the Damjanich street. Ede Telcs’s Beethoven sculpture can be seen on a photo taken in 1914 in the so-called music hall – referring clearly to the function of the room – next to the window on the left Gauguin’s The calling can be viewed, on the wall perpendicular to it Monet’s Landscape of Argenteuil and Boudin’s Seaport, to the right Van Gogh’s Forest and a small landscape by Sisley can be seen, next to the church of Bretagne. Even though Kohner’s collection primarily consisted of works by Hungarian and foreign painters, as well as of antique carpets, he also owned works of such popular foreign and Hungarian sculptors as August Rodin, Max Klinger, János Fadrusz, Kisfaludi-Stróbl, József Róna, Márk Vedres and Elza Kövesházy Kalmár. The Kohner-collection was auctioned in 1934, many pieces were delivered into foreign public and private collections, including Gauguin’s painting, that is now in the Museum of Art in Cleveland. Thus it is a very special occasion that such a unique piece of an excellent Hungarian collection can be sold with its original pedestal. Eszter Mecseki

216.

216. Italian sculptor second half of the 19th century Bathing Aphrodite carved marble of Carrara, m: 88 cm, no signature found, damaged (after the greek original from the 2nd centrury AD, today in the British museum)


€ 10 340

105

217. 218. 219. 220. 221.

217. Cipriani, Adolfo (worked between 1880-1930) Spring alabaster, m: 39,5 cm, sign on the back: A. Cipriani


€ 970

219. Pongrácz (Popper) B. Szigfrid (Brünn, 1872-Budapest, 1929) Nude with small faun child bronze, m: 37 cm, signed on the foot: Pongrácz B. Sz.


€ 260

218. after Canova, Antonio, 19th century Hercules and Likhas carved alabaster, m: 62 cm, no signature found


220. Gemito, Vincenzo (1852-1929) Fishing Boy bronze, on marble foot m: 20 cm, imperfect, sign on the back: Gemito


€ 760

€ 760

221. Seifert, Victor Heinrich (Döbling, 1870-Berlin, 1953) Butterfly girl, 1898 bronze, on marble foot, m: 31 cm, signed: V. Seifert 98


€ 210

222. 223.

222. Róna József (Lovasberény, 1861-Budapest, 1939) „A kis türelmetlen”/”Patience” bronze, on marble foot, m: 27 cm, signed: Róna József Reproduced: Lyka Károly: Apro bronze in Művészet 1906. V. évfolyam, p. 101.


€ 2 240

223. Gautier, Jacques Louis (Párizs, 1831-?) Mephistopheles bronze, m: 86 cm, sign on foot: J. Gautier


€ 2 760

107

SECOND DAY 301. 302. 303. 304.

301. Ferenczy Valér (Körmöcbánya, 1885-Bp., 1954) Venice, Saint Mark’s basilica oil, cardboard, 48,5 × 58,5 cm, signed: Ferenczy Valér

302. Négely Rudolf (Sopron, 1883-?) Sailing boats in Venice oil, canvas, 56 × 68 cm, signed: Négely Venezia



€ 620

€ 480

303. Nádler Róbert (Pest, 1858-Budapest, 1938) Oriental street oil, canvas, 54,5 × 35,5 cm, signed: Nádler Róbert

304. Háry Gyula (Zalaegerszeg, 1864-Bp., 1946) The view of Staint Matthew church, 1902 oil, canvas, 80 × 60 cm, signed: Bpest Háry Gy. 1902



108

€ 380

€ 660

305. 306. 307.

305. Székely Andor, Dobai (Lőcse, 1877-Párizs, 1945) Harbour scene, 1923 oil, canvas, 100 × 120 cm, signed: Székely 923


€ 1 170

306. Berkes Antal (Budapest, 1874-Budapest, 1938) Metropolitan scene oil, canvas, 60 × 80 cm, signed: Berkes A.

307. HUNGARIAN PAINTER, first half of the 20th century View of the castle of Budapest oil, canvas, 71,5 × 101,5 cm, no signature found, without frame



€ 760

€ 1 240

109

308. 309. 310. 311.

308. Nádler Róbert (Pest, 1858-Budapest, 1938) Rocky Seaside oil, canvas, 111 × 81 cm, no signature found, label of the National Salon on the back


€ 760

309. Mihalovits Miklós (Bp., 1888-Bp., 1960) Capri, 1934 oil, canvas, 32,5 × 26,5 cm, signed: Mihalovits M. Capri 1934


€ 410

310. FRENCH PAINTER, first half of the 20th century Fishermen from Bretagne oil, canvas, 55,5 × 69 cm, no signature found

311. Boldizsár István (Orosháza, 1897-Bp., 1984) On a shady porch oil, canvas, 45 × 58 cm, signed: Boldizsár



110

€ 240

€ 380

312. 313. 314. 315.

312. Jancsek Antal (Bp., 1907-Bp., 1985) Lady on the beach oil, canvas, 80 × 60 cm, signed: Jancsek A.

313. Jancsek Antal (Bp., 1907-Bp., 1985) Summer portrait oil, canvas, 60 × 50 cm, signed: Jancsek



€ 280

€ 240

314. Neogrády Antal (Galsa, 1861-Alag, 1942) Walk on the beach water-colour, paper, 400 × 580 mm, signed: Neogrády A.

315. Neogrády Antal (Galsa, 1861-Alag, 1942) Young lady with flowers water-colour, paper, 290 × 385 mm, signed: Neogrády A.



€ 310

€ 310

111

316. 317. 318. 319.

316. Gruber Béla (worked at Nagybánya, circa 1910 ) Nude redhead oil, canvas, 79,5 × 46 cm signed: Gruber Béla; autcioneer label on the back

317. Hatvany Ferenc, BARON (Budapest, 1881-Laussane, 1958) Standing nude oil, canvas, 77,5 × 53 cm, signed: Hatvany, provenance: once in the collection Soóky: exhibited: Gyula, Gallery Kőröspart 2008-2009



€ 410

€ 830

318. HUNGARIAN PAINTER, beginning of the 20th century Nude on a red couch oil, canvas, 75 × 100 cm, no signature found, damaged

319. HUNGARIAN PAINTER, circa 1920 Venus oil, canvas, 117 × 147 cm, no signature found



112

€ 620

€ 970

320. 321.

320. Kádár Béla (Bp., 1877-Bp., 1956) The wake of spring tempera, gouache, cardboard, 295 × 380 mm signed: for Krizsán Manczi, Kádár Béla


€ 2 760

321. Hegedűs László (Szentes, 1870-Budapest, 1911) Family oil, cardboard, 45 × 47 cm, signed: Hegedűs L. and inheritance stamp on the back: „For the good friend of my husband Gyömrői Károly, dr. Hegedűs Lászlóné”


€ 620

113

322. 323. 324. 325.

322. Senyei Oláh István (Debrecen, 1893-Debrecen, 1963) „Debreceni cigányok” “Gypsies from Debrecen” oil, canvas on cardboard, 59,5 × 49,5 cm, signed: Senyei Oláh


€ 280

323. Bernáth Aurél (Marcali, 1895-Bp., 1982) Boat and reeds water-colour, paper, 290 × 200 mm signed: B.A., oeuvre catalgue number: 1961/6


€ 830

324. Zemplényi Tivadar (Eperjes, 1864-Bp., 1917) Landscape with water oil, cardboard, 22 × 27 cm, signed: Zemplényi T.

325. Sándor József (Gyömrő, 1887-Budapest, 1936) View of a park, 1913 pastel, cardboard, 50,5 × 65 cm, signed: Sándor József München 913



114

€ 190

€ 330

326. 327. 328.

326. Körösfői-Kriesch Aladár (Buda, 1863-Bp., 1920) „Vénasszonyok nyara-Fonyód”, “Indian summer-Fonyód” 1918 tempera, cardboard, 280 × 390 mm, signed: KA 918


€ 410

327. Fényes Adolf (Kecskemét, 1867-Bp., 1945) Landscape with storks oil, wood, 28,5 × 44,5 cm, signed: Fényes

328. Vastagh György, id. (Szeged, 1834-Bp., 1922) Marabou, 1909 pastel, paper, 49,5 × 27 cm, signed: Vastagh, Berlin 1909 V/20; Indian marabou; on the back: sktech of a tigerhead



€ 970

€ 480

115

329. 330. 331. 332.

329. Diener Dénes Rudolf (Nyíregyháza, 1889-Budapest, 1956) Portrait of lady pastel, paper, 70 × 46 cm, signed: Diener Dénes Paris

330. Szilády Margit (Kecskemét, 1908-?) Working men pastel, cardboard, 100 × 70 cm, signed: Szilády Margit on the back: label "Magyar Művészeti Alap", without frame



€ 310

€ 210

331. Móritz Sándor (Celldömölk, 1924-Stockholm, 1966) In the garden oil, canvas, 76 × 90 cm, signed: Móritz

332. Szilvássy Pál (Miskolc, 1920-1996) „Virág” “Flower” oil, wood fiber 60 × 80 cm, signed: Szilvássy Pál



116

€ 340

€ 160

333. 334. 335.

333. Belányi Viktor (Nyitraludány, 1877-Bp., 1955) Still life with flowers oil, canvas, 95,5 × 120 cm, signed: Belányi


€ 1 030

334. Pap Domonkos (Kolozsvár, 1894-1972) Still life with flowers and apples oil, canvas, 80 × 60 cm, signed: Pap Domonkos

335. Molnár Z. János (Cservenka, 1880-Gödöllő, 1960) Still life with flowers in the window oil, canvas, 100 × 79,5 cm, signed: Molnár Z. János



€ 480

€ 480

117

336. 337. 338. 339.

336. Koszkol Jenő (Dorog, 1868-Bp., 1935) Venice water-colour, paper, 390 × 265 mm, signed: Koszkol Jenő

337. Náray Aurél (Bp., 1883-Bp., 1948) Guardian angel oil, canvas, 67 × 55 cm, signed: Náray Aurél



€ 310

€ 410

338. GERMAN PAINTER, beginning of the 20th century View of Prague, 1909 water-colour, paper, 490 × 680 mm, signed: illegible 1909

339. Bragnoli SIGN, beginning of the 20th century Beach water-colour, paper, 150 × 240 mm, signed: Bragnoli



118

€ 210

€ 80

340. 341. 342.

340. Berkes Antal (Budapest, 1874-Budapest, 1938) Sunny street oil, cardboard, 20 × 33 cm, signed: Berkes A


€ 550

341. Polish PAINTER Carriages in Podhajce, 1915 oil, cardboard, 33,5 × 41,5 cm, signed: Witold... 1915 Podhajce...; german subtitle on the back: Tramwageen zur Bringsplatz in Podhajce

342. Szabó Antal (Kecskemét, 1875-?) Metropolitan winter scene oil, wood, 45 × 45 cm, signed: ... Szabó A.



€ 310

€ 210

119

343. 344. 345.

343. Tornyai János (Hódmezővásárhely, 1869-Bp., 1936) Sunset oil, canvas, 30 × 44 cm, signed: Tornyai


€ 550

344. Vadász SIGN View of a street, 1919 oil, wood, 28,5 × 38,5 cm, signed: Vadász 1919

345. Tornyai János (Hódmezővásárhely, 1869-Bp., 1936) Sunny farm oil, wood, 14,5 × 21 cm, signed: Tornyai, BÁV 32/323



120

€ 410

€ 330

346. 347. 348.

346. Egry József (Újlak, 1883-Badacsonytomaj, 1951) Landscape with cottages oil, cardboard, 50 × 40 cm, signed: Egry József


€ 3 270

347. Rudnay Gyula (Pelsőc, 1878-Budapest, 1957) Rural scene oil, canvas, 38 × 48 cm, signed: Rudnay Gy., BÁV 25/215

348. Csabai Kálmán (Csáktornya, 1915-Miskolc, 1992) Sunny hillside with stacks, 1970 oil, canvas, 70 × 80 cm, signed: Csabai K. 970



€ 620

€ 410

121

349. 350. 351.

349. Beron Gyula (Felsőbucár, 1885-Bp., 1971) Sunny landscape oil, canvas, 59 × 74,5 cm signed: Beron


350. Benkhardt Ágost (Budapest, 1882-Budapest, 1961) Selfportrait, 1922 oil, canvas, 44,5 × 40 cm, signed: to my friend dr. Révész Vidor, Benkhardt A. 1922

351. Hagyik István (Kisujszállás, 1891-?) Resting oil, canvas, 102 × 78 cm, signed: Hagyik, damaged



122

€ 410

€ 280

€ 550

352. 353. 354.

352. Glatz Oszkár (Bp., 1872-Bp., 1958) Children of Buják, 1922 oil, canvas, 96 × 80 cm signed: Glatz 1922, BÁV 41/111


€ 3 280

353. Löschinger Hugó (Budapest, 1875-Graftrath, 1912) „Egy pej, egy szürke” oil, canvas, 51 × 65 cm, signed: LH.; on the back: probate and exhibiotn labels


€ 310

354. Dayka Antal (1902-ben dolgozott a nagybányai PAINTERiskolában) On a hillside oil, canvas, 71 × 102 cm, signed: Dayka A., damaged


€ 210

123

355. 356. 357.

355. Rippl-Rónai József (Kaposvár, 1861-Kaposvár, 1927) Spring landscape pastel, paper, 29 × 36 cm, signed: Rónai J., Provenance: It was painted in the garden of Leher János, cheese maker from Pécs, around 1920


€ 4 480

356. Perlmutter Izsák (Pest, 1866-Budapest, 1932) View of a town water-colour, paper, 210 × 270 mm, signed: Perlmutter

357. Poll Hugó (Pest, 1867-Budapest, 1931) Cloudy landscape pastel, cardboard, 24,5 × 33 cm, signed: Poll H.



124

€ 380

€ 620

358.

358. Rippl-Rónai József (Kaposvár, 1861-Kaposvár, 1927) Flowering trees oil, cardboard, 45,5 × 55 cm, signed: Rónai BÁV 74/245, BÁV 39/286 on the cardboard of the back: Study of a lady in a hat and an admission label of the exhibiton in the Rippl Rónai Merkúr palace in 1902

Starts with: 6 000 000 HUF VÉDETT

€ 20 690

NO EXPORT

125

359. 360. 361. 362.

359. Faragó Márton (Alsólendva, 1880-Nagykanizsa, 1956 k.) At the well, 1928 oil, canvas, 60 × 50 cm, signed: Faragó 928

360. Klimó István (Debrecen, 1883-Bp., 1961) Gipsy girl oil, canvas, 69,5 × 55 cm, signed: Klimó I.



€ 240

€ 210

361. Zeller Mihály (Nagypeleske, 1859-?) Beach oil, cardboard, 19,5 × 30 cm, signed on the back: Zeller M.

362. Fenyő Andor Endre (Baja, 1904-Budapest, 1971) Vine hill at lake Balaton oil, canvas, 62 × 81 cm, signed: Fenyő



126

€ 210

€ 310

363. 364. 365. 366.

363. Galla Endre (Dunapentele, 1897-Bp., 1971) In a flower garden oil, canvas, 84 × 63 cm, signed: Galla Endre

364. Litteczky Endre (Szatmárnémeti, 1880-Szatmárnémeti, 1953) In a shady garden oil, canvas, 80 × 68 cm, signed: Litteczky



€ 760

365. Börtsök Samu (Tápiószele, 1881-Bp., 1931) In a sunny garden, 1911 oil, canvas, 60 × 70 cm, signed: Börtsök 1911, on the back: study of a landscape


€ 620

€ 1 450

366. Boldizsár István (Orosháza, 1897-Bp., 1984) View of a shore, 1927 oil, cardboard, 42 × 58 cm, signed: Boldizsár 1927


€ 410

127

367. 368. 369.

367. Pólya Tibor (Szolnok, 1886-Szolnok, 1937) Siesta oil, canvas, 50,5 × 60 cm, signed: Pólya T.


€ 410

368. Iványi-Grünwald Béla workshop, beginning of the 20th century369. Pólya Tibor (Szolnok, 1886-Szolnok, 1937) Conversation Resting harvester oil, canvas, 60 × 80 cm, signed: Iványi Grünwald oil, canvas, 75,5 × 100,5 cm, signed: Pólya T.


128

€ 450


€ 410

370. 371. 372.

370. Molnár C. Pál (Battonya, 1894-Bp., 1984) Landscape with riders oil, wood fiber 40 × 60 cm, signed: MCP


€ 970

371. Zombory Lajos (Szeged, 1867-Szolnok, 1933) Plowing oil, canvas, 60 × 80 cm, signed: Zombory

372. Rudnay Gyula (Pelsőc, 1878-Bp., 1957) Historical scene water-colour, cardboard, 215 × 295 mm, signed: Rudnay Gy.



€ 310

€ 410

129

373. 374.

373. Molnár C. Pál (Battonya, 1894-Budapest, 1984) Landscape with a shore oil, wood fiber 21 × 29,5 cm, signed: MCP


€ 970

374. Molnár C. Pál (Battonya, 1894-Budapest, 1984) Lake among the hills oil, wood fiber 44 × 54 cm, signed: MCP


130

€ 660

375.

375. Rippl-Rónai József (Kaposvár, 1861-Kaposvár, 1927) Portrait of a lady in a hat oil, cardboard, 60 × 46,5 cm, signed: Rónai; on the back: Lady with a black hat; exhibition label; exhibited: 1902, Merkur palota, collection of Rippl Rónai, lot 489


€ 20 690

131

376. 377. 378.

376. Szánthó Mária (Szeged, 1902-Budapest, 1994) Venus oil, cardboard, 49,5 × 71 cm, signed: Szánthó Mária


€ 620

377. Dudits Andor (Bp., 1866-Bp., 1944) Girl on a couch oil, wood, 47 × 56,5 cm, signed: Dudits A.

378. HUNGARIAN PAINTER, 1920 körül Nudes on the shore oil, wood, 45 × 50 cm, no signature found



132

€ 210

€ 410

379. 380. 381.

379. Jobbágyi Gaiger Miklós (Szentgotthárd, 1892-Bp., 1959) The three Graces, 1919 oil, canvas, 110 × 153 cm, signed: Jobbágyi Gaiger 15 M. 1919

Starts with: 440 000 HUF379

€ 1 520

380. Czencz János (Ostffyasszonyfa, 1885-Szekszárd, 1960) The shy model oil, wood, 69,5 × 56,5 cm, signed: Czencz J.

381. Szánthó Mária (Szeged, 1902-Bp., 1994) Joseph and Potiphar’s wife, 1935 oil, cardboard on wood fiber 100 × 70 cm, signed: Szánthó Mária 935



€ 550

€ 760

133

382. 383. 384.

382. Szánthó Mária (Szeged, 1902-Bp., 1994) Lying nude oil, canvas, 61 × 107 cm, signed: Szánthó Mária


€ 550

383. Boldizsár István (Orosháza, 1897-Bp., 1984) On the shore of the Lake Balaton oil, canvas, 76 × 64,5 cm, signed: Boldizsár

384. Konfár Gyula (Bp., 1933-) „Lány”, “Girl” oil, wood fiber 100 × 67 cm, signed: Konfár



134

€ 760

€ 410

385. 386.

385. Frank Frigyes (Bp., 1890-Bp., 1976) Lying nude water-colour, paper, 370 × 320 mm, signed: Frank Frigyes


€ 340

386. Czene Béla, ifj. (Isaszeg, 1911-Budapest, 1999) Lying nude, 1976 tempera, wood fiber, 50 × 89 cm, j.k.f.: Czene Béla 1976, exhibited: Gallery Koller , 2011, Czene Béla drawings and paintings


€ 690

135

387. 388. 389. 390.

387. Szabó Gyula (Bp., 1907-Prága, 1972) Contemplative oil, canvas, 82 × 60 cm, signed: Szabó

388. Frank Frigyes (Budapest, 1890-Budapest, 1976) Sleeping boy in an armchair, 1920 oil, canvas, 47 × 36 cm, signed: Frank Frigyes 1920



€ 4 140

€ 660

389. Vágh-Weimann Elemér (worked at the mid 20th century) Selfportrait; oil, canvas, 55 × 46 cm, signed: Vágh Weimann Elemér; on the back: authentic title

390. FRENCH PAINTER, beginning of the 20th century Metropolitan scene at dusk oil, canvas, 79 × 58 cm, signed: illegible



136

€ 410

€ 410


€ 7 590

391. Gulácsy Lajos (Budapest, 1882-Budapest, 1932) Oriental scene oil, cardboard, 46 × 62 cm, signed: Gulácsy, SZM 940/955

391.

137

392. 393. 394. 395.

392. Karlovszky Bertalan (Munkács, 1858-Bp., 1938) Portrait of Kiss Ilona, 1936 oil, wood, 30 × 25 cm, signed: Karlovszky B.

393. Tihanyi Lajos (Bp., 1885-Párizs, 1938) Portrait of Ady Endre lithography, paper, 380 × 250 mm signed: Tihanyi Lajos 918 III.; 60. Tihanyi Lajos



€ 410

394. Kemenszky Árpád (Pest, 1870-Bp., 1945) Nude on a couch oil, canvas, 54,5 × 87 cm, signed: Kemenszky Á.


138

€ 280

€ 170

395. Hikádi Erzsébet, Czene Béláné (Bp., 1911-Bp., 2008) Lying nude oil, canvas, 60 × 105 cm, signed: Cz. Hikády E.


€ 620

396. 397. 398.

396. Scheiber Hugó (Bp., 1873-Bp., 1950) Portrait of a boy with glasses chalk, paper, 570 × 420 mm, signed: Scheiber H.


€ 830

397. Czóbel Béla (Budapest, 1883-Budapest, 1976) Cats clack ink, paper, 205 × 265 mm, signed: „To Dévény Iván, Czóbel”


€ 1 100

398. HUNGARIAN PAINTER, first half of the 20th century Portrait of a man graphite, paper, 265 × 210 mm, no signature found


€ 130

139

399. 400. 401.

399. Frank Frigyes (Budapest, 1890-Budapest, 1976) Summer apples oil, canvas, 60 × 75 cm, signed: Frank Frigyes


€ 1 310

400. Ilosvai Varga István (Kunhegyes, 1895-Bp., 1978) „Bükköspart”, 1943 oil, wood fiber 60 × 66 cm, no signature found, on the back: title

401. Réti Mátyás (Tiszadomb, 1922-Bp., 2002) Houses of Nagymaros oil, wood fiber 60 × 80 cm, signed: Réti



140

€ 660

€ 340

402. 403. 404.

402. Frank Frigyes (Budapest, 1890-Bp., 1976) Still life oil, cardboard, 45 × 68 cm, signed: Frank Frigyes


€ 620

403. Marosán Gyula (Bp., 1916-Toronto, 2003) Riders, 1937 oil, canvas, 50 × 60 cm, signed: Marosán 1937

404. Holesch Dénes (Besztercebánya, 1901-Bp., 1983) Galloping horses oil, canvas, 51 × 66 cm, signed: Holesch



€ 970

€ 620

141

405. 406. 407. 408.

405. Ivanácz Zsolt (Pest, 1869 – Bp., ?) Girl with geranium oil, cardboard, 100 × 68 cm, signed: J. Zsolt, damaged

406. Varga Vasil (1921-2005) Daisies in vase oil, canvas, 90,5 × 70,5 cm, signed: Varga



€ 310

€ 1 100

407. Ridovics László (Szombathely, 1925-) Still life with apples oil, wood fiber 60 × 80 cm, signed: Ridovics L.

408. Klie Zoltán (Szekszárd, 1897-Budapest, 1992) Still life oil, wood fiber 70 × 67 cm, signed: Klie



142

€ 210

€ 550

409. 410. 411. 412.

409. Boemm Ritta, Fehér Kálmánné (Lőcse, 1868-Bp., 1948) Mallows oil, wood, 60 × 47,5 cm, signed: Boemm Ritta

410. Feleky-Fetter Frigyes (Kolozsvár, 1899-Bp., 1977) In the park oil, canvas, 42, × 32 cm, signed: Fetter F.



€ 280

€ 310

411. Sztelek Norbert (Pusztaszentjakab, 1884-Nagybánya, 1956) Autumn scene with a hill (Virághegy) in the back pastel, paper, 23 × 29,5 cm, signed: Sztelek

412. Pécsi Pilch Dezső (Pécs, 1888-Bp., 1949) View from Buda oil, canvas, 60 × 80 cm, signed: Pécsi Pilch D.



€ 210

€ 480

143

413. 414. 415. 416.

413. Járitz Józsa (Budapest, 1893-Budapest, 1986) Girl with a red bow oil, canvas, 92 × 73 cm, no signature found

414. Pekáry István (Budapest, 1905-Budapest, 1981) Madonna woven tapestry, 98 × 64,5 cm, signed: P; Weaving workshop of Buda



€ 1 380

€ 590

415. Rilcoucourt, J. SIGN, beginning of the 20th century Street oil, canvas, 46 × 61 cm, signed: J. Rilcoucourt

416. Neogrády Antal (Galsa, 1861-Alag, 1942) Court of a farm water-colour, gouache, paper, 280 × 400 mm, signed: Neogrády A.



144

€ 310

€ 210

417. 418. 419.

417. Pekáry István (Budapest, 1905-Budapest, 1981) View of a town, 1958 oil, canvas, 45,5 × 100,5 cm, signed: 19 Pekáry 58


€ 2 240

418. Páll Lajos (Korond, 1938-) Landscape with horses oil, wood fiber 60 × 46,5 cm, signed: Páll

419. Gádor Emil (Pécs, 1911-Budapest, 1998) View of a sunny town oil, wood fiber 62 × 60 cm, signed: Gádor



€ 410

€ 210

145

420. 421. 422. 423.

420. Schéner Mihály (Medgyesegyháza, 1923-Budapest, 2009) Poppy bouquet, 1992 oil, wood fiber 34 × 31 cm, signed: Schéner; on the back: gift inscription 1992


€ 210

421. Vén Emil (Fiume, 1902-Budapest, 1984) Sunflowers tempera, paper, 71 × 58 cm, signed: Vén


€ 410

422. Mácsai István (Budapest, 1922-2005) Reading woman oil, canvas, 60 × 80 cm, signed: Mácsai

423. Orosz Gellért (Jászladány, 1919-Bp., 2002) Circus, 1945 oil, canvas, 60 × 80 cm, signed: Orosz G. 1945; on the back: part of auctioneer and exhibiotn label



146

€ 380

€ 410

424. 425. 426. 427.

424. Schönberger Armand (Galgóc, 1885-Bp., 1974) Female portrait oil, cardboard, 42 × 29 cm, signed: Schönberger

425. Iványi-Grünwald Béla workshop, circa 1930 Still life with flowers oil, canvas, 80 × 60 cm, signed: Iványi Grünwald Béla



€ 760

€ 550

426. Hincz Gyula (Budapest, 1904-Budapest, 1986) View of a forest water-colour, clack ink, paper, 315 × 470 mm, no signature found

427. Hincz Gyula (Budapest, 1904-Budapest, 1986) Summer forest water-colour, clack ink, paper, 350 × 490 mm, no signature found



€ 170

€ 170

147

428. 429. 430. 431.

428. Schéner Mihály (Medgyesegyháza, 1923-Bp., 2009) Still life with tulips, 2006 olaj, paper, 70 × 50 cm, signed: Schéner 2006

429. Véső Ágoston (Nagybánya, 1931-) Reformed church in Nagybánya pastel, cardboard, 58 × 49 cm, signed: Véső Á.



€ 860

€ 760

430. Véső Ágoston (Nagybánya, 1931-) Reformed church at the shore of Zazar pastel, cardboard, 50 × 60 cm, signed: Véső Á.

431. Schéner Mihály (Medgyesegyháza, 1923-Bp., 2009) Mediterrean court oil, wood fiber 60 × 80 cm, signed: Schéner



148

€ 760

€ 480

432. 433. 434. 435.

432. Koppány Attila (Enying, 1947-) Dead bird, 2008 acrylic, cardboard, 100 × 70 cm, signed: Koppány

433. Turcsán Miklós (Szil, 1944-) Frustration, 2008 oil, wood fiber 122 × 69,5 cm, signed: Turcsán 2008



€ 1 310

€ 970

434. Kleinheincz Magdolna (Bp., 1949-) Moonlight sonata oil, canvas, 60 × 100 cm, signed: Kleinheincz

435. Kleinheincz Magdolna (Bp., 1949-) The ocean oil, canvas, 80 × 100 cm, signed: Kleinheincz



€ 310

€ 410

149

436. 437. 438. 439.

436. Hajnal Mihály (Anarcs, 1935-) The blue angel, 2004 oil, cardboard, 48 × 35 cm, signed: Hajnal M. 04

437. Rác András (Kolozsvár, 1926-) Without title, 1991 oil, wood fiber 80 × 57 cm, signed: R.



€ 220

€ 830

438. Kéri László (Budapest, 1949-) Old boys, 1978 oil, canvas, 100 × 120 cm, signed: Kéri László '78

439. Károlyi Ernő (Pesterzsébet, 1923-) Collaboration, 1999 oil, wood fiber 68 × 81 cm, signed: Károly; k.l.:Károlyi



150

€ 970

€ 830

440. 441. 442.

440. Martyn Ferenc (Kaposvár, 1899-Pécs, 1986) Composition oil, canvas, 33,5 × 25 cm,signed: Martyn


€ 5 170

441. Sugár Gyula (Dunaföldvár, 1924-Budapest, 1989) Still life, 1978 oil, wood fiber 60 × 80 cm, signed: Sugár 78

442. Hegyi György (Budapest, 1922-) Rooftops of Szentendre, 1960 oil, canvas, 50 × 70 cm, signed: Hegyi



€ 620

€ 620

151

© Zsellér Jenő

443. 444.

443. Tóth Menyhért (Mórahalom, 1904-Bp., 1980) Male portrait oil, cardboard, 33 × 24 cm, signed: TM


€ 1 900

444. Szabó Gyula (Budapest, 1907-Prága, 1972) Landscape with hills water-colour, paper, 420 × 650 mm, no signature found


152

€ 1 170

© Zsellér Jenő

445. 446.

445. Tóth Menyhért (Mórahalom, 1904-Bp., 1980) Still life with flowers oil, cardboard, 56,5 × 45 cm, signed: TM


€ 2 930

446. Szabó Gyula (Budapest, 1907-Prága, 1972) „Morning at the barracks of Losonc”, 1954 water-colour, paper, 440 × 590 mm signed: Szabó Gyula


€ 1 100

153

447. 448. 449. 450.

447. Gyarmathy Tihamér (Pécs, 1915-Bp., 2005) Without title, 1965 olaj, paper, 85,5 × 60,5 cm, signed: Gyarmathy 965

448. Papp Oszkár (Bp., 1925-) Armastajad, 1947 oil, canvas, 40 × 20 cm, no signature found



€ 1 240

€ 480

449. Papp Oszkár (Budapest, 1925-) Still life, 1968 oil, cardboard, 20 × 28 cm, signed: PO 68

450. Véső Ágoston (Nagybánya , 1931-) Sunny landscape with a stack pastel, cardboard, 50 × 70 cm, signed: Véső Á.



154

€ 410

€ 760

451. 452. 453.

451. Gyarmathy Tihamér (Pécs, 1915-Budapest, 2005) Signs of the past, 1965 mixed techniques, paper, 488 × 630 mm, signed: Gyarmathy 65


452. Kerényi Jenő (Budapest, 1908-Budapest, 1976) Resting II., 1971 wash clack ink, paper, 240 × 250 mm, signed: KJ / 71


€ 130

€ 1 310

453. Kondor Béla (Pestlőrinc, 1931-Budapest, 1972) „Biedermeier studies”, 1965 etching, paper, 280 × 275 mm, signed: Kondor B. 1965 b.l.: „Biedermeier tanulmányok”


€ 310

155

454. 455. 456.

454. Csernus Tibor (Kondoros, 1927-) Nude with hat, 1993 water-colour, paper, 700 × 470 mm, signed: CsT. 1993


€ 1 590

455. Vaszary János (Kaposvár, 1867-Bp., 1939) Nude with Buddha coloured lithography, paper, 305 × 405 mm; signed: Vaszary János


€ 310

456. Györky József (Budapest, 1942-) Mass, 2008 olaj, paper, 72 × 102 cm, signed: Györky 2008


156

€ 480

457. 458. 459.

457. Csernus Tibor (Kondoros, 1927-) Brunette Nude, 1994 water-colour, paper, 780 × 540 mm, signed: CsT. 1994


€ 1 590

458. Picasso, Pablo (Malaga, 1881-Mougins, 1973) Studio, 1955 lithography, paper, 505 × 840 mm, signed: Picasso (on the print); sign: 983/2400 8. II. 55


€ 620

459. De Chirico, Giorgio (Volosz, 1888-Róma, 1978) The horses of the sea coloured lithography, paper, 290 × 440 mm signed: G. de Chirico (on the print)


€ 970

157

460. 461. 462. 463.

460. Bálint Endre (Budapest, 1914-Budapest, 1986) Motifs of Szentendre, 1968 monotyping, paper, 260 × 240 mm, signed: Bálint 68

461. Kerényi Jenő (Bp., 1908-Bp., 1976) Warrior with horse III., 1970 clack ink, paper, 300 × 197 mm, signed: KJ / 70



€ 380

€ 130

462. Uitz Béla (Mehala, 1887-Bp., 1972) Mourn, 1914 etching, paper, 200 × 254 mm, signed: Uitz B. 914

463. Czumpf Imre (Bp., 1898-Bp., 1973) Winter city, 1932 clack ink, paper, 530 × 375 mm, signed: Czumpf Imre 1932



158

€ 280

€ 170

464. 465.

464. Bálint Endre (Bp., 1914-Bp., 1986) Vanitas oil, canvas, 50 × 46,5 cm, no signature found


€ 1 660

465. Barcsay Jenő (Katona, 1900-Szentendre, 1988) Houses of Szentendre, 1962 clack ink, paper, 220 × 280 mm, signed: Barcsay; on the back:”Small town view Barcsay Jenő 1962”


€ 760

159

466. 467. 468. 469.

466. Dalí, Salvador (Figueras, 1904-Figueras, 1989) Centaur lithography, paper, 550 × 350 mm, signed: Dali; H.C.

467. Trifonov, Georgi (Karlukovo, 1947-) „Astrologie” II., 1992 lithography, paper, 715 × 475 mm signed: Georgi Trifonov 92; k.l.: litho 4/60; b.l.: Astrologie II



€ 410

€ 410

468. Miro, Joan (Montroig, 1893-Palma de Mallorca, 1983) Exhibition poster-Barcelona, 1975 lithography, paper, 700 × 500 mm, no signature found

469. Dalí, Salvador (Figueras, 1904-Figueras, 1989) Judgment zincogrpahy, paper, 398 × 445 mm signed: Dali (on the print); signed: 1678/2000 and dry stamp



160

€ 310

€ 340

470.

470. Csernus Tibor (Kondoros, 1927-) Shoe tying, 1995 water-colour, paper, 740 × 480 mm, signed: CsT. 1995


€ 1 590

161

471. 472. 473. 474.

471. Károlyi Zsigmond (Budapest, 1952-) „4 blue wedge”, 1994 oil, canvas on cardboard, 54 × 56,5 cm, sign on the back: Károlyi Zsigmond '94 „4 blue wedge”


€ 970

473. Zemplényi Magda (?, 1899-Bp., 1965) Girl in a purple dress pastel, graphite, paper, 64 × 49 cm, signed: Zemplényi


€ 520

472. Baska József (Dernő, 1935-) Strong momentum oil, canvas, 180 × 150 cm, signed: Baska


474. Angyalföldi Szabó Zoltán (Bp., 1929-) Without title pastel, paper, 42 × 59 cm, signed: Szabó Zoltán Angyalföldi


€ 290

€ 1 450

475. 476. 477. 478.

475. Kántor Lajos (Vajdácska, 1922-) Double, 1966-67 oil, canvas, 100 × 70 cm, signed: Kántor L.

476. Fürjesi Csaba (Salgótarján, 1969-) Happiness, 2007 acrylic, canvas, 60 × 65 cm, signed: FCs



€ 1 450

€ 550

477. Turcsán Miklós (Szil, 1944-) Man, 1985 oil, wood fiber 58 × 85 cm, signed: Turcsán 85

478. Vlaszov, Alekszej (1952-2009) In a bar, 1984 oil, canvas, 50 × 59,5 cm, signed: A. Vlaszov 84



€ 620

€ 480

163

479. 480. 481.

479. Adorján Attila (Balassagyarmat, 1968-) Manager, 2011 oil, canvas, 127 × 107 cm, signed: Adorján


€ 2 930

480. Sikuta Gusztáv (Bp., 1919-Budapest, 1985) Models in the studio oil, wood fiber 60 × 80 cm, signed: Sikuta

481. Anto, (antoszkiewicz) Maria (Varsó, 1936-Varsó, 2007) Siedza, 1994 oil, canvas, 81 × 100 cm, signed: M. Anto 1994



164

€ 450

€ 760

482. 483. 484.

482. Vasarely, Victor (Pécs, 1906-Párizs, 1997) Football player serygraph, paper, 670 × 470 mm, signed: Vasarely; b.l.: 40/100


483. Vasarely, Victor (Pécs, 1906-Párizs, 1997) Coloured compositions, 8 pieces screen print, paper, 480 × 480 mm, signed: Vasarely; b.l.: 57/70


€ 1 450

€ 310

484. Buhály József (Nyírtass, 1945 – ) Place and time 2005 wood fiber, plextol, 52 × 120 cm, signed: Buhály


€ 760

165

485. 486. 487. 488.

485. Vasarely, Victor (Pécs, 1906-Párizs, 1997) Kinetic zebra screen print, plexi, 57 × 46 cm, signed: Vasarely

486. Vasarely, Victor (Pécs, 1906-Párizs, 1997) Kinetic composition screen print, plexi, 30 × 24 cm, signed: Vasarely



€ 410

€ 240

487. Vasarely, Victor (Pécs, 1906-Párizs, 1997) Kinetic cube screen print, plexi, 10 × 10 × 10 cm, signed: Vasarely

488. Vasarely, Victor (Pécs, 1906-Párizs, 1997) Luminous zebra screen print, plexi, 14 × 16,5 × 2 cm, signed: Vasarely



166

€ 310

€ 480

489. 490. 491. 492.

489. Dalí, Salvador (Figueras, 1904-Figueras, 1989) Scene lithography, paper, 185 × 120 mm signed: Dali 1947 (on the print), 1000 editions

490. Szász Endre (Csíkszereda, 1926-Mosdós, 2003) Vicuska, 1969 olaj, china clay coated cardboard, 44 × 46 cm sign: „to Zsuzsának with love Szász Endre 1969”



€ 480

491. Martyn Ferenc (Kaposvár, 1899-Pécs, 1986) View of Paris, 1927 pastel, paper, 540 × 660 mm, signed: Martyn 27 Paris


€ 550

€ 1 170

492. Schéner Mihály (Medgyesegyháza, 1923-Budapest, 2009) Saint Stephen and the children, 2003 oil, wood fiber 70 × 100 cm, signed: Schéner M.; on the back: autograph sign: „I painted it in 200”


€ 970

167

493. 494. 495. 496.

493. Hikádi Erzsébet, Czene Béláné (Budapest, 1911-Budapest, 2008) Street scene with people oil, wood fiber 32,5 × 95 cm signed: Hikádi E.


€ 310

494. Szőnyi István (Újpest, 1894-Zebegény, 1960) Summer garden water-colour, paper, 215 × 300 mmm signed: Szőnyi I.


€ 410

495. Csák Máté (Budapest, 1938-) Trinidad, 2003 water-colour, paper, 29 × 41 cm, signed: Csák Máté

496. Hajós Imre László (Újvidék, 1905-Arad, 1977) Burgas, 1964 water-colour, paper, 340 × 480 mm, signed: H.I. Burgas 1964



168

€ 120

€ 120

497. 498.

497. Schéner Mihály (Medgyesegyháza, 1923-Budapest, 2009) Cavalrymen oil, wood fiber 70 × 100 cm, signed: Schéner M.


€ 970

498. Kokas Ignác (Vál, 1926-2009) Dusk acrylic, canvas, 35 × 50 cm, signed: Kokas I.


€ 900 169

499. 500. 501.

499. Medgyessy-Kovács Gyula (Debrecen, 1963-) Spring, 2007 oil, canvas, 149 × 142,5 cm, signed: 07 MKGY


€ 1 310

500. Bartl József (Soroksár, 1932-) Still life with gladioli oil, canvas, 50 × 90 cm, signed: Bartl

501. A. A. Gd. Dana SIGN, beginning of the 20th century Cock-fight oil, canvas, 51 × 70 cm, signed: A. A. Gd. Dana; on the back: A. A. Gd. Dana, Gianjar Bali, SZM 195/2006



170

€ 330

€ 830

502.

502. Kovács Margit (Győr, 1902-Budapest, 1976) Girl with a jug glazed tile, m: 33,5 cm signed: K.M.


503. 504. € 760

505.

503. Kovács Margit (Győr, 1902-Budapest, 1976) Shepherd 1964 glazed tile, m: 42 cm, signed: KM 1964


€ 970

504. Kovács Margit (Győr, 1902-Budapest, 1976) Girl with a doll glazed tile, m: 21,5 cm, signed: K.M.


€ 620

505. Pándi Kiss János (Pánd, 1905-Budapest, 1981) Young woman terracotta, m: 57 cm signed: Pándi Kiss J.


€ 160

171

506. 507. 508. 509.

506. Kerényi Jenő (Budapest, 1908-Budapest, 1976) Csontváry, 1961 bronze, m: 39 cm, signed on the back: K. J.


€ 970

507. Kerényi Jenő (Budapest, 1908-Budapest, 1976) Saint Francis, 1964 bronze, m: 42 cm, no signature found


€ 760

508. Magyar szobrász, beginning of the 20th century Ferenc Liszt bronze, on marble, m: 37 cm, no signature found


€ 280

509. Gádor István (Kóka, 1891-Bp., 1984) The kiss, 1916 bronze, m: 35 cm, signed: Gádor I. 1916 present of István Gádor to Aurél Bernáth


172

€ 310

510. 511.

510. Fekete József (Vajdahunyad, 1903-Nagyvárad, 1979) Saint George, 1932 aluminium on marble 31,5 × 31,5 cm, signed: Fekete, reproduced: Plesca Fekete Margaréta – Szalma György: Fekete József 33. oldal, 127. kép


€ 970

511. Ferenczy Béni (Szentendre, 1890-Budapest, 1967) Horse bronze, on marble m: 22 cm, no signature found


€ 1 310

173

512. 513. 514. 515.

512. Gaády Käyser Lajos (Bp., 1895 – Bp., 1983) Speed, 1934 bronze, on wood, m: 46 cm, signed Gaády Käyser 934


€ 1 660

513. Olcsai Kiss Zoltán (Szalagfő, 1895-Bp., 1981) Motherhood bronze, m: 31,5 cm, signed on the back: Olcsai Kiss Z.


€ 480

514. Martsa István (Pozsony, 1912 – Bp., 1978) Allegorical woman bronze, on wood, 32 × 14,5 cm,


€ 130

515. Somogyi József (Félszerfalva, 1916-Bp., 1993) Sun, Moon, Birds bronze, 28 × 19,5 cm, signed: S. J.


174

€ 240

516. 517. 518. 519.

516. Kisfaludi Strobl Zsigmond (Alsórajk, 1884-Budapest, 1975) After the bath terracotta, m: 41 cm, signed: Kisfaludy Strobl

517. Fekete József (Vajdahunyad, 1903-Nagyvárad, 1979) The kiss terracotta, m: 41,5 Cm,signed: F.J.



€ 210

518. Veszprémi Imre (Balatonalmádi, 1932-) Nude marble, m: 31 cm signed: V.I.

519. Marton lászló (Tapolca, 1925 – Bp., 2008) Warrior bronze, m: 26 cm, signed: Marton L.



€ 620

€ 330

€ 210

175

520. 521. 522.

520. Fiume, Salvatore (Comiso, 1915-Milánó, 1997) „Famiglia” 22 carat gold alloy steel, 30 × 30 cm, signed: Fiume; 490/750; studio sign


521. Asszonyi Tamás (Pécs, 1942 – ) On a red coach bronze, on wood 24 × 19,5 cm, signed: AT


€ 170

522. Birkás István (Kunmadaras, 1947-) Wood-painting, 2008 mixed techniques, wood 44 × 21 cm, signed: B.L.


176

€ 620

€ 1 030

8 Bal aton u tc a, Budapest H–1055 Telephone: (+36)1 475 6000 Fa x : (+36)1 475 60 05 E -m ail : nag@nagy h a zi.hu w w w. n ag y h a z i . h u

Old masters, 19th and 20th century paintings

Recommend Documents